Sixth senses (part 1)

Hi !

Today I’m sharing some ideas on how I like to practice basic material, and to focus on a cool interval, the sixth, very convenient in comp and solos.

The purpose of this post is:
to understand the connection between a third and a sixth,
to identify sixths intervals on the neck, especially vertically,
to play modes in sixths
to practice intervals with different rhythms,
to bring extra notes to the sixth and create patterns,


The sixth is nothing more than an inverted third.
C-E is a major third. E-C is a minor sixth
D-F is a minor third, F-D is a major sixth.

( fig. 1 ) shows these simple intervals and enable to hear thirds and sixths.

Now let apply major and minor sixths on a mode. « Moving chord tones » was all about applying chord tones on a mode (F# mixoydian), today we’re applying sixths on the same mode.

( fig. 2 ) is a plain reminder of F# mixolydian.

Now let’s play sixths on each note of this mode.

( fig. 3 ) is F# mixolydian played in sixths vertically, in Intervals only

If we break intervals into single notes, ( fig. 4 ) shows how to break F# mixolydian into sixths vertically.

I’ll focus on how to play sixths horizontally in future posts.

In my humble opinion, one of the purposes of practicing is to connect the dots between scales, modes, chords and others, in order to have a 360° overview of the basic material.

( fig. 5 ) shows how a play sixths with the addition of 5th, one step or half-step below the sixth. This 3-note pattern is a cool way to practice with a different rhythmic approach, in this case with triplets.

( fig. 6 ) is roughly based on the same approach, now with the addition of 7th, one step or half-step above the sixth.

These two exercices are efficient to practice many different ways of playing sixths, and also to connect the dots with diatonic intervals such as fifths and sevenths. Not to mention that that seventh are really important for chords.

I intend to post about substitutions in the future. For the moment, let’s have fun with sixths on F# mixolydian.

In ( fig. 7 ) the purpose is to play sixths, two degrees above one another.

Ex: F# - A#, then G#-B, then A#-C#, etc…

The structure of this 4-note group is 1-6-3-1.

We notice that each pair of sixths is some kind of arpeggio, not so far from the diatonic arpeggios we all know.

Ex in bar 14: F#/D#/A/F#, G#/E/B/G#, etc…

The benefits of this exercice are:
- mastering sixths positions,
-  introduction to substitution approach,
-  enlargement to the sound,
- coming up with new patterns.

Have fun


Jean-François

www.soubelet.com