gonna jump into a concept called chord
We've covered a lot in this site
concerning major scales.
when it comes to really using those kind
just basic major scale theory, to rhythm
we can learn a lot by discovering, how a
scale moves chordally.
And so I'll just in the key of g.
Using good old open g.
The way, the way a chord scale moves, is
you have your one which is g,
the second degree of the two is gonna be a
Or two minor seven is gonna be great here,
two, now, there are different schools of
the standard music theory would have the
next third degree as a b minor.
What we are gonna do for bluegrass and
In the interest of how to, how to connect
And how to think about substitutions.
And how to generally create lines, that
work really well for fiddle tunes.
We're going to look at it as borrowed from
the intermediate course of the alternate
We're gonna make the-
[SOUND] B is going to be our low note, but
we're gonna put it under a G
So there's, there's basically your G.
So we got one, two.
So we're gonna play it like that.
I'm not really playing the open E.
Allowing the pinkie to be on that B.
So there's a move.
The next degree of the scale is the
fourth, which is gonna be a C chord.
fifth degree, the fifth note of the scale
in G is D,
the sixth because we know what you know
about relative minor.
The relative minor of G is E minor, so
that's the sixth degree.
If we wanna continue moving that line.
There's E minor.
But just to keep it in, on our simple
chords that we know.
And then the seventh degree, is F sharp.
It's kind of barring again like we did in
the third degree.
Where the B is under the G.
We're gonna have F sharp as the seventh
And it's gonna be under a D, which will be
voiced like this.
In the key of G where that basically the D
and the A, D is played with your pinkie.
The A is with the ring finger,
you basically have a d triad, we are just
the F sharp is moved down here to this
low, low spot.
Second fret on the low e string.
And then back to g, so once again it's 1,
2, 3, 4, 5, 6, 7 and then back to one.
Now there are ways to voice this, to where
the the notes continue to lead and
it, it gets more into how the chords move
then, versus then how they can actually be
used but I'll show them to you because
it's, it's a neat sound.
And a thing to think about.
[SOUND] Of one two.
then back to G with that position right
Notice we have
We're, we're, we're moving all
the harmonies at the at the same time.
it moves a little, a little sweeter, I
To sort of look at the.
Another useful voicing for
fiddle tunes and bluegrass is to think
about the key of C.
The same concept, is one
is your C and two is D minor seven
Which is that voicing I showed you at
the top of this section.
Then E minor
Or E over the C.
One, two minor
Then we're gonna make it the E over the C.
And then F.
G is our fifth.
Then our sixth is the relative
minor, A minor.
then back to this what we're gonna call
the five over the seven.
So there's a seven and we're,
we're playing it underneath.
Five, five is over seven
One, two minor
One over three.
Four, five, six minor, five over seven and
then back to one.
And the way we can connect chords, you
know still using your basic open position
you know look at open string chords
it's we'll next we'll get into how to you
know, look at an actual song.
And, and connect chords based on this
kinda knowledge here.
And, again, it's, we're just using major
scales as we know them and,
and adding their sorta proper usage within
in the chord and
in the sense of what key you're playing or
what what sort of the, the tonal center
that you're trying to work out of.
I'll show you one more and we'll move on,
out of D.
[SOUND] Cuz a lot of fiddle tunes in open
You can get a lot out of this.
So just for the knowledge of D [SOUND].
Then E minor [SOUND].
Or E minor seven [SOUND].
And then there's that F or F sharp under
the D chord [SOUND].
Or the one over three, the D is over F
Then G is four [SOUND].
A is five [SOUND].
And B minor is the six degree.
Now here's a voicing that,
that's pretty useful, when you're in the
key of d for, for
some good rhythm embellishment is again
we've got our five over seven so
we want an a over a c sharp
Or it could be this.
There's your A.
There's your C sharp.
So basically taking that, then getting
that form and moving the voicing down.
As I've mentioned all through these
I mean there's voicings of these chords
you can find all over the place but
now we're starting to think about where we
want these voices to go and
how we wanna use them.
Here we're, we're discovering just in a
major scale kinda how they,
how they can apply.
A, as, as, as movement.
And these, these voices actually have
Based on what's come before them and
what's come after them.
So we'll dive into some actual usage next.
So thanks for hanging on.