This is a public version of the members-only Fiddle with Darol Anger, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Fiddle with Darol Anger.
Join Now

Beginner Fiddle
 ≡ 
Intermediate Fiddle
 ≡ 
Advanced Fiddle
 ≡ 
Jazz & Blues Fiddle
 ≡ 
30 Day Challenge
 ≡ 
+Music
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Fiddle Lessons: "Salty Dog Blues"

Video Exchanges () Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory
Lesson Specific Downloads
Play Along Tracks
 
Tools for All Lessons +
Metronome
Collaborations for
Submit a video for   

This video lesson is available only to members of
Fiddle with Darol Anger.

Join Now

Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Fiddle with Darol Anger. This is only a preview of what you get when you take Fiddle Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
X
Log In
X
[MUSIC]
One
of the most popular a blue grass numbers
that uses
a lot of the circle force business is a
Salty Dog Blues.
And, of course ,we also have tunes like.
Oh, Sweet Georgia Brown, things like that,
that are sort of considered swing tunes.
And we're gonna be doing that later.
But I just like Salty Dog Blues because
it's it's really a bluegrass tune.
And it does use that kind of raggy, you
know, going around the circle.
Thing and you'll, when I say raggy it's
like a rag.
You'll see what I mean in a second.
We're gonna do it in G right, and it's
usually done in G.
So.
[MUSIC]
Sitting on the corner with the low
down blues.
Great big hole in the bottom of my shoes.
Tiny little
billiard song
to done.
So what was that?
That was G.
Sitting on the corner with the low down
blue, E seven.
The seventh.
Great.
Great big hole in the bottom of the shoes.
A 7.
Honey le me be your D 7.
Salty Dog, back to G.
[MUSIC]
Our home key, right?
So, we have a demotion.
If you look at the base notes of each of
those chords, G, E, A and D.
It kinda goes, it starts with a G.
And then it, it has a little walk down.
It doesn't go, it doesn't start with this
cycle.
It has to go someplace to get to this
cycle, it walks down.
[MUSIC]
Right, walks down to the E seven.
[MUSIC].
And then we are positioned by going to the
E seven here we are properly
positioned to during the next eight bars
to go through that cycle and
to end up where we wanna end up back at
the home key of G.
So you see a lot of that, a that little
walk down from the 1.
[MUSIC]
Which turns out to be,
if we are talking about the key is kind of
the 6 right?
[MUSIC]
So
G going to E is a lot, that is a very
common motion.
[MUSIC]
You hear that.
[MUSIC]
Right.
And you'll, you'll hear that again and
again and you'll start to recognize that.
Oh yeah, okay.
I have a feeling that we are going to be
going around in a cycle
getting back to our home key.
And so you can start making predictions
about what's gonna happen,
even in songs you might never have heard
before.
And that's great,
because then people think you're some kind
of musical genius, you get more gigs.
So so, we start with G.
[MUSIC].
To E7, and then up the cycle to the A.
[MUSIC]
And then to the D.
And then we're back home.
Again a forth away back to G.
[MUSIC]
What's nice about this key for
the fiddle is that you can kinda see, you
can play those bass lines.
[MUSIC]
So
you can, kinda see how that fits together.
You can kinda see, hear, what the bass
might do by playing it.
So, if we play little double stops that
sort of spell out those chords.
We can.
If we stay on the bottom two strings we
could pick out oh okay,
well we could do G.
We could, a couple of different choices.
We could play.
[MUSIC]
G and E.
But let's, for now, just to make it a
little clearer and sweeter.
Let's put the [SOUND], the B, and then the
G on top.
[SOUND], So we get that nice chord.
It sounds very G-like.
[SOUND] And then if we want to go down,
down to that sixth,
we could actually just go down and play
the same chord shape.
On the E, we could play the third on the
bottom and the one on top.
[MUSIC]
G-sharp, right?
And then E.
[MUSIC]
get a very nice E sounding chord.
[MUSIC]
So we go from G.
[SOUND].
And then an A.
A7 or we just play it A.
Let's see.
Let's play an A7.
Let's really do it.
Okay, so let's see.
A, [SOUND].
There's an A.
[SOUND].
Here's a third to the A.
Let's play that third out about and then
play the seventh,
which is a G-natural on top.
[MUSIC]
You can hear.
[MUSIC]
That's a very.
[MUSIC]
Rich.
And again we've got that 7th feel, you've
got tension.
Okay, so we've got that.
[MUSIC]
The A 7.
And then we know we're going to fourth
away.
We're gonna be going to that D scale.
So let's find some good notes for the D.
Obviously there's an open D.
[MUSIC]
But.
[MUSIC]
What happens if we just move the whole
assembly down a half step, check this out,
this is a beautiful thing,
a magical, musical thing here, so okay A
seven,
we've got the third on the bottom and the
seven on top.
[MUSIC].
We drag that back one half step.
[MUSIC]
Hear that motion?
It's the dominant motion.
[SOUND].
All of a sudden we have the seventh on the
bottom and the third on top of the D7.
[SOUND].
We got seventh, C-natural for D and
the F-sharp which is the third of D.
[SOUND] So, by going from.
[SOUND].
A7.
Third on the bottom, seven on top.
[MUSIC]
To D7, seven on the bottom, third on top.
So the notes, the relative notes have
switched positions.
It's just a beautiful little thing.
We just drop that a half step, and then.
Back down to G.
[MUSIC]
Come back home.
So we could, it sounds like.
[MUSIC]
So we can kind of understand that internal
working there, and then if we think about
things that
we might wanna play on top of that onto,
on top of those chords, we could just go
to our arpeggios.
[MUSIC]
Right?
And that was just G.
[MUSIC]
E.
[MUSIC]
A.
[MUSIC]
D.
[MUSIC]
G.
[MUSIC]
And
that is a way of getting comfortable with.
Salty Dog Blues.
I'm standing on the corner with the low
down blues.
Great big hole in the bottom of my shoes.
Honey, let me be your salty dog.
One of the great schizophrenic songs of
the century, Salty Dog Blues.
And also a great way to start working on
that cycle of fourth thing.
So we're going G, going to E, to A to D.
Our little circle of 1625 business.
So we're going to play a little bit Salty
Dog Blues now.
One, two, three.
[MUSIC]
All right, i'd like to see some goody from
you on some of these tunes that we're
talking about, with the chord changes.
And the fact that you're gonna be able to
download the backing tracks is great,
and that will help, you know.
You should just download those and play
along to the,
the backing tracks if you want to do that.
Or you could play by yourself, but it's
usually more fun to play with a track.
Either 9 pound hammer Salty Dog Blues, I'd
like to see you play that.
Those, one of those two pieces.
And what I want you to do is play the
melody and then for
one chorus I'd like to see you actually
spell out the chords and just.
Arpeggios, quarter note arpeggios so for
instance if you did 9 pound hammer you go,
you play the melody.
[SOUND] And then the second time through
you just play an arpeggio.
[MUSIC]
Just very straight forward.
Just so you're kind of aware of what the
chords are and how they work.
And that's, obviously it's not something
you would do on stage, but
it is something that we're doing to just
work out our awareness of the chords.
And that's what I want to see.
[MUSIC]