Okay, chords, those mysterious things that
we as fiddlers do not so much do, exactly.
But we have to live with them, we relate
to them, we, our lives,
our musical lives are governed by chords
and chord movement.
So we really have to know what we're doing
I wanna start with, sort of, the pre-chord
is a whole world of music that does not
use, necessarily, chords as such.
But they, they use scales.
And you can kind of talk about the
different kinds of harmony and
tonality that happen within that scale.
How you can move around in something
that's in one key.
I thought I'd use Ruben's train which is a
great model tune.
It just has one chord basically.
It's like D mixolydian, right.
It's like a D seven chord, right.
You can spell out that chord by playing
We start of D, one, three, five, seven,
then of course the scale to that is a
mixolydian D scale.
the, the melody of course Reuben's Train
So we have a lot of that.
it's just one chord, but there are lots of
other things going on within that scale.
Because it's mixolydian, we know that
there it's like a modal tune.
So there's lots of other scales that are
sort of contained in the mixolydian scale.
The relative scale to a mixolydian D is a
right, because it's all the same exact
So we start on G.
We see that they're all the exact same
So we could actually say, okay, well, I'm
playing in D
mixolydian, but I could also think that,
oh, maybe for
a second I'm in the key of G major, so I
All right, so
we could like get a little bit of movement
just a feeling of like, okay.
We're going somewhere else and then we're
What other modes, as long as we're talking
What's the, we've also talked about the
which is connected to all these modes.
The right Dorian mode for this, for, for
D mixolydian also happens to be A Dorian
which sounds like.
All the exact same notes as the G major
and the D mixolydian.
No, it's just where you start on the
It's the only thing that makes a
We can say.
that's kinda cool because we have this.
So, we can get these kind of little scale
movements, at least the lick movements
that make the whole experience of
Reuben's train and that mixolydian mode a
And give us a place to go to come back to
that feelings of Ruben's Train.
And we're gonna play Ruben's Train here
I'll try to give you some examples as I
play it of how you can,
even within the same exact scale, you can
kind of move a little bit away and
move back into the feeling of the, the one
I'm gonna play the melody at the beginning
and end of this cycle and
then play a little bit of the D Mixolydian
the G major, also known as the Ionian
mode, right and the A Dorian mode.
All of which we have covered and those are
actually all exactly the same notes and
we just starting on different notes in
those, in that one big giant scale.
And that's what makes it different names
We're gonna start here.
And I will end with the melody up an
octave from where I played it at
And for my next trick, we'll actually play
One, two, three.