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: Tonal Gravity

Video Exchanges () submit video Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory
information below
Lesson Specific Downloads
Play Along Tracks
Close
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Fiddle

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

Join Now

information below Close
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]
So we are in the advanced section.
All of you advanced folks I'd just like to
talk a little bit about some,
a little bit, even more concepts that are
hard to exactly, you know, nail down.
But, are very important of what, what
we're doing as just musicians and
fiddle players, and how we choose notes.
As far as, you know, what the chords are.
Things like that.
Obviously, we're always thinking about the
melody.
Whatever that is.
And the melody is happening and we're
either playing the melody or
playing something that might be thought of
as a counter point or
something that you know even if there's no
melody there.
We might just be, this, be having this
imaginary melody in our heads and
then we're playing some kinda decoration
accompaniment to that.
So back to Ohio, it's its kind of a nice,
its got a great melody.
[MUSIC]
Right, we'll just play that melody,
I'll just play that melody with you Scott
and you just go ahead and play.
We'll just play one time through.
One, two, three.
[MUSIC]
So, super simple melody, but
it definitely, it kind of, it always goes
somewhere and then it sits, right?
[MUSIC]
So
it's got this kind of hypnotic kind of
rolling.
You know, it's always, it gets a little
farther every time, which is kind of like
the whole story of the song, and it kind
of goes a little bit.
So how can we, how can we kind of
translate that
into a way of thinking about the song that
makes sense to us?
How, how those notes actually fit in the
chords.
We've got one that sits right in the
middle of the chord.
[MUSIC]
We got that beautiful
third that sits right on that E chord.
[MUSIC]
And then we've got.
[MUSIC]
Okay, so we've got on that five chord.
That's interesting.
We might've gone up to.
[MUSIC]
That would've been the,
the most obvious place to go, but instead,
we go.
[MUSIC]
And then.
So it's, it doesn't move very much.
It just, what we're doing is just moving
from.
[MUSIC]
And then, it goes up just a little bit.
[MUSIC]
And that's a very beautiful,
that's a very kind of a luscious sorta
note to put because that's actually.
What is that?
That's like a seventh.
Say, what is that note?
It's like a B chord, right?
Instead of B [INAUDIBLE].
[MUSIC]
So that might be, not be our first choice
to play against a B chord but because it
just walks up a little bit.
[MUSIC]
Got this nice.
It's almost like a it's very romantic
sounding in a way.
[MUSIC]
And then it comes up.
[MUSIC]
And
always very sweet notes against these
chords.
And of course, that really plays against
the you know that
what happens later in the tune when the
guy, when the guy kills her.
He just throws her in the river of death.
[INAUDIBLE] So we've got this.
[MUSIC]
Again.
[MUSIC]
[LAUGH] It's like an E7, right?
But it could also be sort of spelled as
sort of a B-minor or something.
[MUSIC]
So we can put that in there.
[MUSIC]
And then then straight to that four.
[MUSIC]
And then.
[MUSIC]
And that kind of hangs over, until you.
[MUSIC]
[INAUDIBLE]
[MUSIC]
That's interesting, that third note,
the third note against the five.
[MUSIC]
Right now it's what do you call it?
It's like a thirteenth chord or something
like that, but
it's very it's, it's anticipating coming
back to that one very strongly.
You know we're gonna get back to that one.
[MUSIC]
Yeah, so all these, these clues and
the melody make it pretty obvious that
we're gonna be playing this.
With as many sweet notes, notes that's
really fit in the melody, as possible.
And, there's a lot of that kind of seventh
kind of feeling too.
So we might wanna put when we're playing
our backup,
we might wanna put a lot of those sevenths
in there.
Of course.
Let's see.
We don't wanna put a seventh in.
[MUSIC]
That doesn't work, does it?
[LAUGH] Not very well.
But if we played.
[MUSIC]
We could do that as a passing tone.
We could go.
[MUSIC]
All right?
We're playing that major seven.
[MUSIC]
One, two, three, four, five, six, seven.
So we could go.
[MUSIC]
And then the five.
[MUSIC]
And then we could play.
[MUSIC]
Yeah.
[MUSIC]
And then we got.
[MUSIC]
Put that seventh in again for the E7.
Then we can put it in.
[MUSIC]
And then how can we do this?
We're playing like a maybe at a possible B
minor.
[MUSIC]
Something like that.
[MUSIC]
And then back to.
[MUSIC]
And then, we do the little.
[MUSIC]
Something like that.
Or.
[MUSIC]
Run like that.
So, on some kind of very nice little scale
things that we can do.
We'll just, let's go through it one more
time.
And I'll just play, sort of, back up to.
Yeah, okay.
Can you just sing the, the chorus, Scott?
>> Mm-hm.
>> And
then I'll just kind of play some of these
ideas.
One, two, three.
>> [MUSIC]