BIDIRECTIONAL INTERVALLIC EXERCISES In the past few articles, we have been focusing on intervallic approaches applied to scale patterns.

I hope you have been practicing these diligently; but more than anything else, I hope that you have been paying attention to the sounds of each exercise. Remember: The goal is to combine our refined muscle memory gained from each exercise with the ear training elements that allow us to first hear and then recall each unique intervallic grouping. This month we will take that to the next level by incorporating a change of direction in our exercises. Bidirectional exercises are still similar to the regular intervallic exercises in that each successive scale degree is still paired to a note that is separated by a set intervallic distance. However, the difference is that each successive pair of scale degrees separated by that interval are played in an opposite direction. For example, the first interval would be played in an ascending fashion, followed by the next interval played in a descending fashion. This swapping of directions would continue through the entire exercise. If you are confused by this explanation, try playing through each of the following exercises and you will begin to see and hear the pattern more clearly. For the following examples, we will refer again to our trusty major scale pattern. Each individual exercise will take a chosen interval and apply it to each note of the major scale within a particular position. As with previous exercises, I suggest starting with the 3 note per string positions for the major scale (See figs. 3a.-3c.) Fig. 3a

Fig. 3b

Fig. 3c

To keep the exercises concise, I will use the range of a 4 string bass, utilizing a G major scale starting on the 3rd fret E string. Remember to keep your hand in position as shown, using only the fingerings specified for the duration of each exercise. Bidirectional intervallic 2nds Diatonic 2nds are played from each scale degree, changing directions from ascending to descending back and forth through the entire range of the scale. The exercise

written in scale degrees would look like this: Ascending: 1-2, 3-2, 3-4, 5-4, 5-6, 7-6, 7-8, 9-8, 9-10, 11-10, 11-12 Descending: 12-11, 10-11, 10-9, 8-9, 8-7, 6-7, 6-5, 4-5, 4-3, 2-3, 2-1 Ex. 1

Bidirectional intervallic 3rds Diatonic 2nds are played from each scale degree, changing directions from ascending to descending back and forth through the entire range of the scale. The exercise written in scale degrees would look like this: Ascending: 1-3, 4-2, 3-5, 6-4, 5-7, 8-6, 7-9, 10-8, 9-11, 12-10 Descending: 12-10, 9-11, 10-8, 7-9, 8-6, 5-7, 6-4, 3-5, 4-2, 1-3 Ex. 2

Bidirectional intervallic 4ths Ascending: 1-4, 5-2, 3-6, 7-4, 5-8, 9-6, 7-10, 11-8, 9-12 Descending: 12-9, 8-11, 10-7, 6-9, 8-5, 4-7, 6-3, 2-5, 4-1 Ex. 3

Bidirectional intervallic 5ths Ascending: 1-5, 6-2, 3-7, 8-4, 5-9, 10-6, 7-11, 12-8 Descending: 12-8, 7-11, 10-6, 5-9, 8-4, 3-7, 6-2, 1-5 Ex. 4

Bidirectional intervallic 6ths Ascending: 1-6, 7-2, 3-8, 9-4, 5-10, 11-6, 7-12 Descending: 12-7, 6-11, 10-5, 4-9, 8-3, 2-7, 6-1 Ex. 5

Bidirectional intervallic 7ths Ascending: 1-7, 8-2, 3-9, 10-4, 5-11, 12-6 Descending: 12-6, 5-11, 10-4, 3-9, 8-2, 1-7 Ex. 6

As usual, practice these exercises using other modes and scale types over the full range of your neck. Try to be as accurate as possible with your fingerings. You should be able to play these without having to look at your hands. Because these intervals often incorporate string skipping, they are fantastic devices for honing your right and left hand technique and coordination. Dont forget the right and left hand principles we discussed previously as you work through them! Stay focused, and youll be amazed at your results. Until next time-