8th Hopping Wires: Root, flat 2, flat 6, 2, and in 4s

Note1:  When making the lesson name, the numbering system used reflects each note of the system with respect to the major scale, where “1,” is the root note of the Ionian Major scale, and all Ionian notes are considered to be major, instead of flat or sharp.  Thus, a lesson may be of a different scalar mode, but that will be disregarded in favor of Ionian labeling, such that though the Ionian major scale has no minor 3^rd, sometimes called “no flat 3,” if there a flat 3 in the lesson, this flat 3 will be labeled as such where major 3 is just simply 3.  For example in the key of G, the note C is the major third.  Here, G would be Root, and C would be 3.  And, if a B flat is used, I would call B flat a flat 3 where 1, the root, is the note G.

Note2:  These notes can be played on strings 1 and 2, 2 and 3, 3 and 4, and 5 and 6, where 1 is the fattest string and 6 is the thinnest string.  Notice that the 4^th and 5^th string are not included, and that is due to the effect of standard tuning, such that the nature of the intervals would change.

Note4: The pick can be gripped in several different ways.  Personally, these days I usually grip it between my thumb and index finger.  However, for more power, consider practicing by holding the pick also with the middle, and/or the ring finger.  This is especially important with acoustic guitars where the power with which one strikes the guitar is usually very important.

Note5:  These exercises are meant to do with great amounts of repetition.  Each time you play them, count the 4 notes, and stress the first of the 4 every time.  Repetition is the key to success.  I have probably done each of these exercises millions of times.

The Lesson Itself

6:1  Except for the 4^th and 5^th strings this pattern of intervals is true at any place on the guitar.

6:2  The root is always played with the index finger in this exercise.  The 2^nd note, which is the flat 2^nd in comparison to the root note, is always played with the middle finger in this exercise.  The flat 2^nd is a half step up from the root which means it should be played in the same string, at the next higher up adjacent fret, and that pattern is true at any place on the fret board.  The 3^rd note is a flat 6^th in comparison to the root note, and it is reached by skipping to the next highest string, and is always played with the pinky finger on the next highest string in most instances.  It is a half step up from the 5^th, where a 1 and a 5 make a power chord.  Also, it may be located as being 3 half steps up from the root, but on the next highest string.  For example, if an A note is the root in this exercise, then a C note would represent the flat 6^th.  The 4^th note of the repeatable pattern is a 2^nd played with the ring finger, but this time rather than a half step, a whole step is used, which means for instance that if the root note is on the 5^th fret, a whole step up would be the same string, but at the 7^th fret on the same string as the root note.  In order to calculate a whole step up, just add 2 frets to the root not and you will be there.  For instance, if the root note is at the 6^th fret, 6+2=8, such that the 2^nd interval is at the 8^th fret.

6:2  Try alternating picking, where down strokes are followed by upstrokes, and also practice using all down strokes, which is described by up and down movements as opposed to a style that would use all down strokes.   The aim is through repeating this exercise hundreds or thousands of times, speed, fluidity and outright finesse will be developed.

6:3  Whether you are positioned at the 12^th fret, the 7^th fret, the 5^th fret, or the 1^st fret, or any other fret for that matter; or if you use the 1^st and 2^nd string, the 2^nd and 3^rd string, or the 5^th and 6^th string etc., on the string used for doubles for this exercise, the pattern remains the same.  The index finger will play the lowest note with respect to tonality, and that will be the root note.  

6:4  So, for now, as the note says, forget the 4^th and 5^th strings for this lesson series because their tonality doesn’t follow the same interval pattern because in standard tuning these strings are tuned to different intervals than the other strings.  And, get keyed into the tones of the suggested intervals on the suggested strings.  Develop your ear.

Note6:  I learned how to play a guitar strung for a righty as a left hand person.  Thus, some of these exercises are extremely difficult, while doing other things on my guitar come much more naturally.  This is what landed me in a good jazz band while I was still in High School.  However, to be a real player, I had to become completely ambidextrous.  That is, as a lefty, I had to make my right hand to be the dominant hand.  However, these exercises are every bit as relative to any player, ambidextrous, righty or lefty.  I do believe one of the greatest aspects of guitar as a musical instrument is that it enables a player to challenge himself or herself, especially their weaker hand.  Some of these exercises may come easy for you, but I can almost guarantee that they all won’t.