Paleo
Student Of The Blues
The nice thing about using scale and chord formulas is that you get the scale degree and interval above the root all in one.
For example, 1 3 5 b7 for a Dominant 7 chord.
The b7 designates a note that is a m7 above the root.
Plotting it on a fret board diagram tells you where that note is.
It's not an interval, per se, but it's understood that it is a m7 above the root and we use the term anyway.
Plotting out the "intervals" is actually plotting out the notes that are those intervals above the root.
What formulas do not show, however, is the intervalic relationships between the other notes within the chord or scale.
1 3 5 b7
3-5 is a m3
5-b7 is a m3
3-b7 is a tritone
"If you are writing vocal harmonies, or composing for just about any instrument, understanding and having a firm grasp of intervals would be extremely important. For a guitar player using theory to figure out how to play a solo... it's not that useful." p 23, Griff's course.
For Griff's purposes formulas will always be used.
For example, 1 3 5 b7 for a Dominant 7 chord.
The b7 designates a note that is a m7 above the root.
Plotting it on a fret board diagram tells you where that note is.
It's not an interval, per se, but it's understood that it is a m7 above the root and we use the term anyway.
Plotting out the "intervals" is actually plotting out the notes that are those intervals above the root.
What formulas do not show, however, is the intervalic relationships between the other notes within the chord or scale.
1 3 5 b7
3-5 is a m3
5-b7 is a m3
3-b7 is a tritone
"If you are writing vocal harmonies, or composing for just about any instrument, understanding and having a firm grasp of intervals would be extremely important. For a guitar player using theory to figure out how to play a solo... it's not that useful." p 23, Griff's course.
For Griff's purposes formulas will always be used.
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