First, we all perceive differently. This leads to as many different perceptions of the process of learning as there are guitar players. Added to this, is the fact that mere words can never completely describe the true depth and reality of anyone's perception. To one person "God helps those who help them selves", means self improvement. To another, it means breaking a pawnshop window to steal a Rolex watch.

Here are a few things I do know. Any melody line that unfolds in your mind, it amounts to a series of consectutve intervals played in a rhythm. This takes in arps, scales, key changes, chromatics, intervals, everything.
A finger has to reach for the next note in the line automatically, with no doubt or hesitation. Any intellectual anylitical thought, or internal word language, disrupts or weakens the process.

I keep harping on the Five basic Key Positions and their Temporary Alterations. At this point, to me, They each contain within, everything we need. There will always be one of these Five within one fret of your left hand no matter what takes place. If I need a quick reference point in the moment, I'm aware of the Position. If I don't, I don't even think about them.

This recognition takes place in a fraction of a second, is immediately relinquished, and my hands just keep going. At this point, I know the Positions so well, that my fingers within the position go right to the notes I hear, in what ever intervals or rhythm I hear them in. The Positions are my only "in the moment crutch" if I need one, and the intellectual recognition takes only a fraction of a second, and the intellectual recognition is instaneously discarded so it won't hang me up as I continue.

OK, The best exercise I know for developing the ability to "play by interval"on instinct is this, whether it's a single chord, a progression, or an entire tune.
Slow the rhythm of the improvised line down to continuous half notes, like a bass player walking in half time. This gives you plenty of time to hear the next interval coming up in your head, . It also lets you know if the note you just played is also good on the next chord. Go all over the fretboard like this as well as staying in one place.

The other advantage is that you keep meter, and your place in the tune. Do this against a BIAB track, then try it alone without the track. I do this also in quarter notes like a stride bass player. make it swing, and accent different beats.
All of the different levels of "Time Streams" can be accessed like this.

When you've arrived at a good swinging stride, let your fingers jump out into 8th notes at random, and drop right back into that stride. This developes your phrasing, and your ability to keep track of the spaces between your phrases.

To work on faster rhythms like 8ths, quarter note triplets, 8th note triplets, and 16ths, slow the tempo down. to the point where you're completely comfortable with the faster division of time, and from there, DROP BACK DOWN into the slower divisions of time, and work your way back up to the faster ones. This developes your perspective, and your ability to keep track of the faster and slower levels of time.

Dave Woods http://www.jazzguitarstartingright.com

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