Intervals on Bass: Hearing and Seeing Distance Between Notes

What an Interval Is (and How Bass Players Measure It)

An interval is the distance from a root note to another note. On bass, the easiest way to measure that distance is in half steps (also called semitones). Each fret equals one half step.

Intervals are useful because they connect what you see (a shape on the fretboard) to what you hear (stable vs tense sounds) and what you play (bass lines that outline chords or move smoothly between notes).

How to Read the Shapes Below

• Root on E string means your starting note is on the E string at any fret.
• Root on A string means your starting note is on the A string at any fret.
• Shapes are given as: same string: +X frets and/or other string: (string, +frets).
• “+ frets” means move up the neck (toward higher pitch). For descending, reverse the move.

Beginner Intervals You’ll Use Constantly

Interval-by-Interval: Shapes, Sound, and Bass Use

Unison (0 half steps)

Fretboard shape

• Root on E string: same string: +0 (same fret, same string)
• Root on A string: same string: +0

Sound: total stability; no “movement.”

Bass use case: locking with the groove, reinforcing the root, repeating a pedal note.

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Minor 2nd (m2 = 1 half step)

Fretboard shape

• Root on E string: same string: +1
• Root on A string: same string: +1

Sound: very tense, “rubbing” sound; wants to resolve.

Bass use case: approach note from below or above (chromatic approach) into a chord tone.

Example move: play root, then m2, then back to root to feel the pull.

Major 2nd (M2 = 2 half steps)

Fretboard shape

• Root on E string: same string: +2
• Root on A string: same string: +2

Sound: mild tension; sounds like “stepwise motion.”

Bass use case: passing tone between chord tones; common in walking-style movement and melodic fills.

Minor 3rd (m3 = 3 half steps)

Fretboard shape

• Root on E string: same string: +3 or A string: +0 (same fret, next string up)
• Root on A string: same string: +3 or D string: +0

Sound: darker, bluesy; stable enough to sound “inside” on minor chords.

Bass use case: chord tone for minor chords; also a classic color in riffs.

Major 3rd (M3 = 4 half steps)

Fretboard shape

• Root on E string: same string: +4 or A string: +1
• Root on A string: same string: +4 or D string: +1

Sound: brighter, “happy” color; defines major quality strongly.

Bass use case: chord tone for major chords; use carefully if the harmony is unclear because it strongly states “major.”

Perfect 4th (P4 = 5 half steps)

Fretboard shape

• Root on E string: same string: +5 or A string: +2
• Root on A string: same string: +5 or D string: +2

Sound: strong and open; stable but with a sense of lift.

Bass use case: common in riffs and fills; can act as a neighbor tone around the root or fifth.

Tritone (TT = 6 half steps)

Fretboard shape

• Root on E string: same string: +6 or A string: +3
• Root on A string: same string: +6 or D string: +3

Sound: most tense; unstable, “spicy,” wants to move.

Bass use case: strong approach or tension note leading to a stable target (often the 5th or octave); also appears in dominant sounds, but treat it as “tension that must resolve” in beginner lines.

Perfect 5th (P5 = 7 half steps)

Fretboard shape

• Root on E string: A string: +2 (same as P4 shape from the string above conceptually, but here it’s the classic root-to-fifth) or same string: +7
• Root on A string: D string: +2 or same string: +7

Sound: very stable, powerful; foundational.

Bass use case: primary chord tone in rock/pop; root–5 patterns; supports harmony without sounding too “busy.”

Minor 6th (m6 = 8 half steps)

Fretboard shape

• Root on E string: A string: +5 or same string: +8
• Root on A string: D string: +5 or same string: +8

Sound: warm but slightly tense; a “yearning” color.

Bass use case: expressive color tone in minor contexts; can be a passing/neighbor tone between 5 and b7 or between 5 and octave depending on the key.

Major 6th (M6 = 9 half steps)

Fretboard shape

• Root on E string: A string: +6 or same string: +9
• Root on A string: D string: +6 or same string: +9

Sound: bright, uplifting; less tense than the 7ths.

Bass use case: melodic bass movement; can function as a chord tone in 6 chords, but at beginner level treat it mainly as a tasteful passing tone that still sounds “musical.”

Minor 7th (m7 = 10 half steps)

Fretboard shape

• Root on E string: D string: +0 (two strings up, same fret) or same string: +10
• Root on A string: G string: +0 or same string: +10

Sound: strong color; tension that can still feel “groovy” and settled in many styles.

Bass use case: common chord tone in dominant/minor-7 sounds; also a great target note in funk/R&B lines.

Major 7th (M7 = 11 half steps)

Fretboard shape

• Root on E string: D string: +1 or same string: +11
• Root on A string: G string: +1 or same string: +11

Sound: very strong pull upward into the octave; “leaning” tension.

Bass use case: approach note into the octave (especially from below); also a chord tone in major-7 sounds, but use with intention because it’s distinctive.

Octave (8ve = 12 half steps)

Fretboard shape

• Root on E string: D string: +2 (two strings up, +2 frets) or same string: +12
• Root on A string: G string: +2 or same string: +12

Sound: extremely stable; same note, higher.

Bass use case: classic bassline move (root–octave); adds energy without changing harmony.

Mini-Drill 1: Root to Every Interval (Ascending and Descending)

Goal: connect the sound of each interval to a consistent physical move.

Step-by-step

• Pick a comfortable root on the E string (any fret).
• Play the root, then play each interval ascending: unison, m2, M2, m3, M3, P4, tritone, P5, m6, M6, m7, M7, octave.
• Then do the same descending: octave down to root (reverse the order).
• Repeat with the root on the A string.

Tip: say the interval name out loud as you play it. If you can name it while playing it, you’re building fast recall for real bass lines.

Example order (ascending): 1, b2, 2, b3, 3, 4, #4/b5, 5, b6, 6, b7, 7, 8

Mini-Drill 2: Two-Note Ear ID (Hear It, Then Find It)

Goal: identify intervals by ear using short two-note examples on bass.

Step-by-step (self-test)

• Choose a root note (start on E or A string).
• Without looking at the chart, jump to a second note and play two notes only: root then the other note.
• Ask: does it sound stable (unison, 5th, octave), mild motion (2nds, 4th, 6ths), or strong tension (m2, tritone, 7ths)?
• Then measure the distance in frets to confirm the interval.

Step-by-step (partner or recording)

• Record yourself playing pairs: root + one interval (random order). Leave a short pause after each pair.
• Play back the recording and write down what you hear (e.g., “sounds very tense and wants to resolve” → guess m2 or tritone or M7).
• Check by counting frets or referencing the shape.

Two-note example set (use any root)

• Play root → m2, then root → P5, then root → M3, then root → tritone.
• Repeat the same four, but play them descending (interval note down to root) to learn the “downward” sound.

Quick Bass-Line Application: Turn Intervals into Movement

Use this simple rule to start making musical lines immediately:

• Stable targets: root, 5th, octave (land here on strong beats).
• Chord color: 3rds and 7ths (use to clearly outline the chord quality).
• Motion notes: 2nds, 4th, 6ths (use as passing/neighbor tones).
• High tension: m2, tritone, M7 (use as approach notes that resolve quickly).

Micro-pattern idea (generic): Root (1) → 2 → 3 → 5 → 6 → 5 → 3 → 2 → Root