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Title: Octaves
Level: Beginner - Intermediate
Style: Theory
Instructor:  Bill Quinn

	Last time we looked at the Pentatonic Pattern.  This time
we will discuss 'octaves'.  We will pick-up where we left off - with
the Pentatonic pattern:

	Here is a pentatonic pattern:


		E ||-----|-----|--O--|-----|-----|--O--|-----|
		B ||-----|-----|--O--|-----|-----|--O--|-----|
		G ||-----|-----|--O--|-----|--O--|-----|-----|
		D ||-----|-----|--O--|-----|--O--|-----|-----|
		A ||-----|-----|--O--|-----|--O--|-----|-----|
		E ||-----|-----|--O--|-----|-----|--O--|-----|


	Another look at the pattern:


		E ||-----|-----|--1--|-----|-----|--2--|-----|
		B ||-----|-----|--4--|-----|-----|--5--|-----|
		G ||-----|-----|--2--|-----|--3--|-----|-----|
		D ||-----|-----|--5--|-----|--1--|-----|-----|
		A ||-----|-----|--3--|-----|--4--|-----|-----|
		E ||-----|-----|--1--|-----|-----|--2--|-----|

	Remember last time, we said that each number represents a unique
note in the pattern.  Actually, this means that each number represents
a unique note *name*.  For example if we assume the '1' on the top string
is a 'G' note, then the '1' on the 4th string (D string) is also a 'G'.
*BUT* even though they are both named 'G' notes they are not the same note!  
They are octaves of one another.  

	An octave is a note that has the same *NAME* as another note but
is higher/lower in pitch.  Most people can just 'hear' an octave.  For 
example when asked to hum something 'higher' the average person will hum 
an octave higher.

	But as guitarists we need some nice tricks to help us remember where
all of the possible octaves are.  Again, we must be thankful for the nice way 
the fingerboard is designed, and that these 'octave patterns' are so easy to
remember.


	The following examples will show a few of the common patterns used
to remember octaves.  I will use the numbers found in the pentatonic scale
to help all of this make sense:


	Pattern:			Rule:
 
E|-----|--1--|-----|-----|	Play at the same fret on the top/bottom 
B|-----|-----|-----|-----|	string.
G|-----|-----|-----|-----|
D|-----|-----|-----|-----|
A|-----|-----|-----|-----|
E|-----|--1--|-----|-----|

	Pattern:			Rule:
 
E|-----|-----|-----|-----|	Skip a string and skip a fret.
B|-----|-----|-----|-----|
G|-----|-----|-----|-----|
D|-----|-----|-----|--1--|
A|-----|-----|-----|-----|
E|-----|--1--|-----|-----|

	Pattern:			Rule:
 
E|-----|-----|-----|-----|	Skip a string and skip a fret.  Same   
B|-----|-----|-----|-----|	above rule, just on different set of
G|-----|-----|-----|--3--|	strings.
D|-----|-----|-----|-----|
A|-----|--3--|-----|-----|
E|-----|-----|-----|-----|
	
	Pattern:			Rule:
 
E|-----|-----|-----|-----|	Skip a string and skip two frets.
B|-----|-----|-----|--5--|
G|-----|-----|-----|-----|
D|--5--|-----|-----|-----|
A|-----|-----|-----|-----|
E|-----|-----|-----|-----|

	Pattern:			Rule:
 
E|-----|-----|-----|--2--|	Skip a string and skip two frets.
B|-----|-----|-----|-----|	Same as above rule, on different
G|--2--|-----|-----|-----|	sets of strings.
D|-----|-----|-----|-----|
A|-----|-----|-----|-----|
E|-----|-----|-----|-----|

	Pattern:			Rule:
 
E|-----|-----|-----|-----|	Skip two strings and down two frets.
B|-----|-----|-----|-----|
G|--2--|-----|-----|-----|
D|-----|-----|-----|-----|
A|-----|-----|-----|-----|
E|-----|-----|-----|--2--|

	Pattern:			Rule:
 
E|-----|-----|-----|-----|	Skip two strings and down a fret.
B|--4--|-----|-----|-----|
G|-----|-----|-----|-----|
D|-----|-----|-----|-----|
A|-----|-----|--4--|-----|
E|-----|-----|-----|-----|

	Pattern:			Rule:
 
E|--1--|-----|-----|-----|	Skip two strings and down a fret.
B|-----|-----|-----|-----|
G|-----|-----|-----|-----|
D|-----|-----|--1--|-----|
A|-----|-----|-----|-----|
E|-----|-----|-----|-----|

	Why memorize these?  Well, if you know your octaves, then you
will quickly learn your note names.  If you know the names of only the
notes on your top string (E string) then by using octaves, you can find
the name of any note on the neck.

	Also, once you learn a nice 'lick' it will be easily transferred
to other parts of the guitar neck using these sort of octave 'tricks'.

	Finally, a lot of players play in octaves.  In other words, a 
player will play 2 (or 3) notes at the same time to thicken-up the sound
of a phrase.  You will find this in jazz especially but also in other styles.

	To help you learn your octaves, I will leave you with the some     
exercises:

1)  Pick *ANY* note on the neck (randomly) and then play at least two
    different notes that are octaves of that same note.

2)  Learn the 1st part of "Mary had a little lamb" and play each note
    on a different string.  Can you play the 1st 6 notes on 6 different
    strings?

3) Practice this TAB, which is the Pentatonic pattern with octaves:


---------------------------------(5)---(8)-------------------5-----8------
---------------------(5)---(8)-------------------5-----8------------------
---------(5)---(7)-------------------5-----7-------------------------(5)--
---(7)-------------------5-----7-------------------------(5)---(7)--------
-------------5-----7-------------------------(5)---(7)--------------------
-5-----8------------------------------------------------------------------

	This a cool 'lick' and is a real challenge to play at a 'rock-n-roll'
tempo.  This will also give you a good feel for which octaves are always in
reach (i.e. no need to change hand position)

	Next time we will look at all of the different places on the neck
you may use the Pentatonic pattern.  This will involve more theory and help
touch into some of the 'mode' mysteries.

See ya!


==============================================================================
FUTURE LESSONS
--------------
No  Name                           Style               Level         Instructor
 14 Major Triads                   Theory                B    Roger Brotherhood
 15 Right and Left Hand Technique  Techniq               B        Tim Fullerton
 16 Major Triad - Part 2           Theory                I        Tim Fullerton
 17 Good Right and Left Hand Techn Technique             I        Tim Fullerton
 18 The Modes part II              Theory                I           David Good
 19 Good Right and Left hand Techn Technique             I        Tim Fullerton
==============================================================================

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