Perfect Fifths can be played with different patterns; first, using (some) open strings:
1. PERFECT FIFTHS on ADJACENT STRINGS – PATTERN 1:
It is worth being reminded of the logistics involved in creating intervals when moving from string to string, first using some open strings, and then no open strings (in this instance, to achieve the Perfect Fifth):
[*Observe the discrepancy between the number of semitones raised during string crossovers, depending on whether the mode is Major or minor, or depending on what position you are at]:
There are two main finger patterns, one being on non-adjacent strings, and the other on adjacent strings (both eventually to be memorised):
2. PERFECT FIFTHS on ADJACENT STRINGS – PATTERN 2:
Study this new fingering patterns, bearing in mind that if some of the notes are the same as in the previous exercise, the tone is quite different:
Now, without referring to the above fingerings, play the exercise below and see if you can remember Pattern 2 (also, sing the interval at all possible opportunities):
The gradual memorisation of intervals (i.e. knowing instinctively what a minor third above, say, a C, a G, or a D, or any other note, would be - or a Major Sixth above a D, a B, or a G, or any other note, will prove increasingly useful as you develop your knowledge of music and sight-reading, so take this opportunity, as we are working on only one interval at a time, to absorb as much as possible since, at the moment, the going is easy.
Next: Perfect Fifths - continued (Patterns 3)
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