Intervals 101 (without background audio)

[@dannyc6166]

Brian, your tutorials are the best. I’ve been a good guitar player for 30+ years just picking things here & there & learning songs. If I would have understood your Intervals tutorial back in the day, I would have been a great player & my confidence would have been much higher. It sucks when people say”you’re a great guitar player” but I’m thinking “thanks, I don’t understand what I’m doing, but thanks”. I wouldn’t have hated playing with keyboard players too. Killer lesson that everyone can learn from. Brian, you are the best guitar instructor on KZbin!!!!!!

[@robinanderson1115]

THERE IS NO BETTER TEACHER THAN ZOMBIE GUITAR . DON'T MISS OUT. . clear, Simple , well explained. I AM A MEMBER OF ZOMBIE GUITAR .

[@alanjanda696]

Thanks again Brian! There are many excellent teachers out there but you are the best ! My progress and understanding of music theory is all clicking now , thanks to you. The illustrations and your straightforward delivery are much appreciated!

[@cyberpunkdarren]

This was a great eye opener and aha moment for me. Thank you for making this much simpler to internalize

[@walterallen4069]

Brian, I enjoy learning/relearning from your videos, especially because of the your ability to cut to the essentials. I've said this so often to my screen/monitor that I don't remember who's channel I have actually articulated my frustration. So, at the risk of restating the obvious, here goes: In the realm of enharmonic-ness and note name aliases, I have found, in plain sight, that along with everything you have said concerning the naming of notes with visual reference to the omnipresent piano keyboard, the one elephant in the room that some guitar-centric KZbin gurus seem to be omitting for ease of explanation. I'm talking about the keyboard's apparent consecutive white key naming problem relating to the guitar fretboard. B# and C natural; B natural and Cb; E# and F natural; AND E natural and Fb all exist and these pairs are enharmonic. As you pointed out visually, especially with respect to the circle of 5ths, following the definitions of those "accidentals", the preceding sentence is consistent. Double sharps and double flats exist and operate under the same 12-tone equal temperament (12TET) model. The only reason that there's no triple sharps or flats is that it would complicate the living sh...., out of the already intimidating (for some) circle of 5ths. More below on this. So, how did I find this chicken bone in my craw? What has me yelling at the monitor like my puppy just messed up my carpet? This common statement, to paraphrase: "There is no [B#, E#, C flat, F flat - fill in the gap]." Aaargh. In order to relearn the circle of 5ths, first for key signatures, then for scales and modes, I unfolded the circle into a vertical number line, +7 at the top for 7 sharps (C# major) , 0 in the middle for no sharps or flats (C major) and -7 at the bottom for 7 flats (Cb major). Then I spelled out a scale in each key signature. I numbered each scale degree with 1-7 and 1, then I-VII and I, studied the intervals between the notes. At this point, I was reminded of something I learned when I was a kid, noodling around on the piano. ("B flat, " my dad would sometimes tell me from the other room to correct my playing). The enharmonic keys at the bottom of the circle of 5ths, having 5-7 sharps or flats deserve special attention. If you're comparing a C# major scale (7 sharps) to a scale in D flat major (5 flats), E# and B# are going to rear their ugly heads. For F#/G flat, we're faced with E# and C flat. For B natural/C flat, we're faced with C flat and F flat. By the way, all that writing of the circle of 5ths was in ink, so one day, I was on my last page in a notebook, I made a mistake at the start of another iteration. I had rearranged each scale degree column in 4ths. Instead of C, D, E, F, G, A, B, C at 0 #/b, I wrote F, C, G, D, A, E, B. Hm. So when I was done, I had the circle of 5ths for 7 modes from most sharp on the left to most flat on the right. Later, I found out that some had labeled it an 'Order of Brightness.' Okay, whatever, it is well-ordered. Relative and transposed modes. Cool. I then went down the slippery slope of writing circles of 5ths for each of the modes. When I did that for harmonic scales and melodic scales, I ran into the double/triple accidental problem if I started on the wrong notes at top dead center. For love of the musical muse, please put up a big old orange safety cone on this problem. I seem to remember that you have shown a light on the difference in viewpoint in music theory learning paths between a piano (or voice)-taught-first musician and a guitar-taught-first musician. Your videos have certainly helped my understanding of intervals and modes, and for that I appreciate it.

[@EDGARDOUX1701]

The best video on intervals, congrats Brian, I think your the best of the best, thank you.

[@GibsonLP2010]

Once again Brian, your explanation of music theory is given in a way that is so easy to understand. I have listened to other theory teachings on KZbin... And they seem to want to show off their knowledge instead of explaining in simple basic explanation. Not saying this to build your ego... Saying this so other people watching will maybe learn from you and your site. Keep doing what your doing. Your the best guitar teacher out there... IMO. Thank you.

[@zombieguitar]

I really appreciate the words!! And that is a great username you've got there too 😁😁😁

[@frankaq3951]

I can hardly believe how much I've learned about music theory in the last few months, and how to apply it to my guitar playing. Thanks so much, Brian ! I love this channel.

[@johnharreld4875]

So much essential information, with a sensible efficient perspective, all in 30 min. Very impressive!

[@KeefsCattys]

Excellent lesson

[@rachelthompson9324]

Great stuff, makes things clear. thanks Brian, you are the man!

[@thomascherpanath9979]

A really nice video in which you tied different concepts (which frequently cause confusion) together in a simple, understandable way. I know you put a lot of effort in making content everybody understands, and you really nailed it!

[@zombieguitar]

Thanks Thomas! Glad you liked the vid 😎

[@soulryder]

Thanks Alot

[@wayneanderson4259]

Awesome lesson!!!

[@ag3nt_green]

This...this just tied together everything. I got the notes on the fretboard memorized, but could not figure out how the hell I was gonna navigate that in real time. This and your caged video themselves put the context I needed to finally be fretboard literate. Instantly all of music looks different. The fact I know what's going on has caused my playing to improve dramatically. Ive never experienced the incredible improvement rate Im in right now. Calling myself a guitar player and being serious is something I know how to get to now. Thank you Brian, for being a legend that cuts the shit and lays it out in its simple and practical form. That engineering background shines through in your approach to guitar and music theory.

[@zombieguitar]

That's awesome!! Intervals are definitely a game changer for many people. I'm glad to hear that this video helped you with that. Thanks for watching and following along with my stuff 😀

[@ag3nt_green]

@zombieguitar It was a genuine aha moment I will never forget. I truly appreciate your time and effort.

[@dmartyair]

Awesome video, Brian!! I will be living here for some time!! Many Thanks sir!

[@josephgonzalez9522]

Thanks for pointing me to your interval video. Fantastic. Have you got a video that show how to practice soloing with intervals. Eg the 3rd is always one string down to the left and the 5th is here etc… by memorising these shapes/positions you can travel all over the guitar neck using intervals. Etc from 1 to 3 to 5 to another 1 to 3 to 5. Or 1 to b3 to 5 for minor. For a certain key, or is that called cord tone soloing? I’m beginning and learnt my pentatonic and diatonic scales all over the neck but sometimes just move around the neck using intervals and mixing scales and intervals together. But would love a video on memorising intervals shapes if that is a thing. B string shape can be tricky for me sometimes lol

[@CalvinLimSH-ld5le]

Great now we know why we play all the guitar shapes with knowing the correct interval of each note for the scale

[@paulfoytack5267]

Good stuff BK. Thanks

[@jumaevans1105]

Thanks a lot my Role model

[@cheapskate8656]

I really struggle with music theory. This was an excellent lesson. Thank you.

[@oddshot60]

A week or so ago, I came across a tune that was in C major ... but some place in it there was a D maj. , and the next chord was a G maj. Today I learned that this is an example of what is called a "5 of" change, not quite a chord substitution, but an added in lead in chord that resolves strongly to the next chord. I'd never seen this before. Is this something that you could do a vid. on? Maybe this AND another on chord substitutions? Thank you.

[@zombieguitar]

Yes I could do a video on that for sure. Thanks for the suggestion!

[@cyberpunkdarren]

This was a great eye opener and aha moment for me. Thank you for making this much simpler to internalize