Guitarists often navigate the fretboard in a linear fashion, moving sequentially across strings. While this approach is fundamental, it can sometimes limit your sonic possibilities. To break free from predictable patterns and inject fresh sounds into your playing, exploring intervallic leaps is highly recommended.
The core idea behind intervallic leaps is to intentionally use wider intervals than you might typically play in standard linear patterns. Think of the expansive arpeggio voicings popularized by players like Eric Johnson – that’s intervallic playing in action. For a deeper dive, Joe Diorio’s book, ‘Intervallic Designs for Jazz Guitar: Ultramodern Sounds for Improvising,’ is a valuable resource. This book is packed with licks that utilize wide interval jumps and explains the chord contexts they fit within. Though a classic, it remains relevant and available online for those eager to explore further.
Before tackling complex licks, it’s beneficial to get comfortable with the mechanics of intervallic playing. A key technique involved is string-skipping, playing notes on non-adjacent strings. A practical way to practice this is by mapping out familiar scales, but instead of playing on consecutive strings, focus on every other string. Let’s start with the A Dorian scale as an example. In the diagram below, you’ll see the notes and intervals of A Dorian, specifically mapped out on the E, D, and B strings.
Consider the root notes within this pattern and begin experimenting with creating your own licks and runs. If string-skipping is new to your technique, you’ll likely need to make adjustments to your picking and fretting hand approaches to execute these leaps cleanly. You’ll also need to decide whether a purely pick-based approach or a hybrid picking technique (using pick and fingers) feels more natural and efficient for you.
Once you gain some comfort and fluidity skipping strings on this set, shift your focus to another set of non-adjacent strings: the G, D, and E strings, still within the A Dorian scale.
A Dorian scale notes and intervals on E, D, and B strings for intervallic practice
Initially, making this approach sound musically cohesive might require patience and focused fretboard visualization. Don’t prioritize speed at this stage; instead, concentrate on playing each note cleanly and accurately. The goal is to internalize the intervallic relationships and develop muscle memory for these string-skipping movements.
Let’s apply this same intervallic technique to another essential scale: the A Minor Pentatonic. Below are the notes for the A Minor Pentatonic scale mapped out for string-skipping on the A, G, and E strings.
And here’s the continuation of the A Minor Pentatonic scale, covering the remaining string sets to complete the intervallic pattern across the fretboard.
A Minor Pentatonic scale notes on A, G, and E strings for intervallic guitar practice
Working with the pentatonic scale in this intervallic manner can be particularly insightful. The reduced number of notes compared to a seven-note scale like Dorian can be advantageous. It often forces you to step outside your usual pentatonic licks and discover new melodic ideas precisely because your familiar linear patterns become less immediately accessible.
As you can see, this intervallic approach is a versatile technique that can be applied to any scale or mode you know. It’s a powerful way to “re-voice” familiar scales, unlocking a range of fresh and inspiring sounds from your guitar. When you’re ready to take your intervallic playing further, be sure to explore Joe Diorio’s Intervallic Designs book. For a complementary perspective on navigating the fretboard, you might also find our free Horizontal Soloing eBook a valuable resource to integrate with your intervallic practice.
