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Fiddle with Darol Anger
Multi-styled master fiddler Darol Anger (David Grisman Quintet alum) teaches fiddle lessons in every style (bluegrass, folk, world, jazz) and for every level of player. Basic through intermediate skills, advanced fiddle lessons and many fiddle tunes. Unlimited access, backing tracks included.
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Yes No
[MUSIC]
Diatonically occurring arpeggios,
are a great thing to practice.
This idea's been around for along time.
It was sort of introduced to me in its,
fiddle player and head of the string
The whole idea of being able to really
and we're talking diatonic keys are the,
love, major and minor.
[MUSIC]
it doesn't have chromatic weird notes or
The, the kind of keys that we use, all the
regular folk music, and most kinds of
These arpeggios that are build on
and any scale, are so useful.
They're, they're very good at just giving
solid grounding, solid feeling of being in
not actually ever having to worry about
and especially with this kind, with this,
we're just learning about, gee okay, am I
I'm improvising, i'm trying all this, this
I just don't wanna play a wrong note.
One of the nice things about playing these
is almost the same as playing scales,
But the idea that because we're breaking
[MUSIC]
[MUSIC]
we're still, we're just building off each
[MUSIC]
it's own arpeggio, and each note in that
We get this great ability to just, be very
you know, in what what key we're in.
It's like, if we're good at these, if we,
relaxed [INAUDIBLE] where, just the same
[MUSIC]
If you can play these arpeggios.
[MUSIC]
If we can play, these notes without
Then, it's like literally, we can't play
Its, increases your confidences level by
And so, these are just a really great way
just getting comfortable with whatever key
And I just did all that stuff in G, but
we could be doing it in just about any
[MUSIC]
what's also nice about it is you can see,
[MUSIC]
So, it's just because the way that the
it's almost automatic, it's really nice.
All we have to worry about is whether or
[MUSIC]
you know, where we have the G sharp.
[MUSIC]
So, it's that, this little displacement
[MUSIC]
the second finger, usually second finger,
we're displacing a little bit sometimes,
In G.
[MUSIC]
Things like that.
Just getting used to that, is going to
and just facility, you know, in whatever
So, I am recommending that you all get
with these diatonic arpeggio, in just
its not that big a deal to run these a few
just to get comfortable with them.
And you can start with like three, groups
[MUSIC]
[MUSIC]
first position, and go up to the top of
[MUSIC]
[MUSIC]
the same thing in, in just whatever key
[MUSIC]
you can use your fourth finger a lot, and
That's always good, because then, you're
being up here.
[MUSIC]
Right?
Those kinda things, where we're using all
But, the idea is that we are just just
Because we're breaking up the scale, like
We're sort of coming at it, coming at each
And that's really good, because we're just
from a lot of different directions.
And of course, that's the essence of being
in whatever key you're in.
So, I'm going to say,
that start with the G, the A, and
the B major three-note diatonic arpeggios,
get those together, and get them, fast.
This might take a while, maybe go one key
until you can get it fast, you know?
We're talking about, you know, I mean, I
[MUSIC]
you know, you have to do that before you
in order to really make use of this, you
not thinking about it, and that means,
[MUSIC]
that's not super fast, that's not as fast
But it's a good tempo, and if you can get
without making a little mistake, or
[MUSIC]
[MUSIC]
of those little glitches.
You just wanna be able to smoothly run up
just the same way, as you'd be able to
[MUSIC]
So, start with G, get G together,
then get A, get A together, and then get
[MUSIC]
Right?
[MUSIC]
you know, cuz we're stretching.
We're making these stretches.
So, that will be an interesting challenge
So yeah, that's my challenge the diatonic
Go for it.
[MUSIC]
mmm.
All right.
Diatonic arpeggios, part two.
And this is part two of a huge subject.
And, I don't want you to work on this part
until you've really gotten comfortable
maybe even taken them into some closed
But it's always good to think about this
think about it in context even though you
So if you're thinking about like really
go back to that first diatonic arpeggio
with those three note arpeggios going up
And then come back and we'll talk more,
So, let's look at four note arpeggios,
starting with our most simple area here G.
[MUSIC]
[MUSIC].
Now we are really spelling out as
arpeggios are just exploded chords.
Right?
So what's really interesting about these,
the way these arpeggios work is that they
the fact that, each arpeggios starts ona
These are all notes that are found on the
Why dont all these cords describe a major
They dont they describe all kinds of
The first scale of course is some kind of
Its like a major seven cord.
[MUSIC].
Right it's-
it's like major seventh,
like a G majr seventh, the second one is
Something like
And then the third one,
another kind of minor scale.
[MUSIC].
And then what's the fourth one?
[MUSIC].
Oh, that's interesting, it's like a-
[MUSIC].
It's like a minor, a major seven.
It's got that nice major seven.
[MUSIC].
Woo, that's interesting.
Starting on the fifth degree we have a
[MUSIC].
Right.
we got the mix of Lydian.
[MUSIC].
That kind of thing so, very interesting,
[MUSIC].
Another kind of a minor scale.
Minor, minor, minor chord.
[MUSIC].
[MUSIC].
Ooh, that's interesting.
[MUSIC].
Ooh, it sounds a little bit like.
Or or somebody like that.
What is that, exactly?
It's, like, it's minor
and then we've got a flat five, right?
[MUSIC].
Minor seven flat five chord in the middle
Well, it's not in the middle, it's at the
It's, like, the last thing, before you get
you have all this, these other different
playing the notes in a certain sequence
through the major scale and that's where
Because what we're doing, is we're
the basis of, of Western music, and how
All the stuff actually hangs together in a
which, will be gone into in future
This is we're kind of on the edge of jazz,
as the great fiddle player Benny Martin
fiddle is kind of on a line between
because anything that's on a line between
itself is something else is, is a, is a
And jazz is hard to pick.
And Benny was right about that.
You know, definitely you know, one of the
is that it is hard, you know?
But bluegrass is hard.
And you know the fiddle is hard.
So you come this far so why stop right.
Anyway so what I'm saying is that as we
moving through not only these different
but we're actually spelling out, the
And these when I use to talk about the
I mean the the seven Church Modes, which
invented by the Greeks which mean there's,
there's seven of these modes, and which
Modes are scales, but this, this idea was
apparently codified by the Greeks, the
[MUSIC].
Right.
It's the Ionian.
[MUSIC].
Apparently, the Greeks, somebody, some
the Ionians played when they went to the
[MUSIC].
You always play that scale, you Ionians.
And then the next one of course is the
It's
[MUSIC].
And that's really common, you hear that a
in not just Indoria, you hear it in all
and all those kinds of things.
So you have the doiy mode-
[MUSIC].
And your next one is...
What is the next one?
[MUSIC].
This is.
[MUSIC].
also a minor scale.
[MUSIC].
But with a Flat 2.
[MUSIC].
So it kind of has this little feeling of
[MUSIC].
Out on the Spanish Steps somewhere.
[LAUGH] Or in a Spanish desert.
Or in Mexico, some place like that.
You got the you know, you can get to like.
Think about Clint Eastwood.
Except Clint Eastwood was in Italy when he
So, what was that about?
I don't know.
I don't know what I'm talking about.
But I do know what I'm talking about, when
which is what that is, and those folks up
which was probably pretty far away, the
And so they said Oh well those guys up
even know what they're talking about they
[MUSIC].
And then of course you have the fourth
starts at the fourth degree of the scale.
[MUSIC].
What is that?
[MUSIC].
[MUSIC].
Oh, and we have, what do we have, we have
So, we're starting on C note.
[MUSIC].
That's Lydian, right?
[MUSIC].
That's not an unfamiliar sound to
[MUSIC].
Right?
[MUSIC].
RIght?
It's that raised four.
[MUSIC].
And that is of course the Lydian Mode from
Lydia.
Look up Lydia on the web, you'll find a
by Groucho Marx, aas nothing to do with
[MUSIC]
[MUSICv Okay, what's the next one.
[MUSIC]
[MUSIC]
our bluesy,scale which often refered to as
This is the one that everybody says oh
[MUSIC].
So it's like a major scale with that flat
[MUSIC].
So that's the rock and roll scale, it's
It's the Mixolydian.
Where the heck Mixolydian was, Mixolydia,
But I'm sure that Mixolydians were
their place in the world, and I'm sure
because it has taken the western world by
[MUSIC]
that's our Mixolydian mode, so if you
stage at the coffee house, and, and you
[MUSIC]
call it the minor.
You know?
[LAUGH] Because it's, it's got the minor
It's probably, better for everyone if you
which is the Mixo Lady or sometimes she
Mixo!
Mixo!
[MUSIC]
that'll you know, hopefully give you the
Okay we've got a couple more.
We've got the sixth degree.
What is that?
The sixth starting on the E, right?
[MUSIC]
That is in minor, minor scale, minor mode.
[MUSIC]
the natural minor.
It's just a regular minor scale.
It's like, if you say, okay.
Play a minor scale.
[MUSIC]
It's just.
It's got that flat six.
[MUSIC]
of course, the aeolian mode, oh, to which
the Greek Ancient Aeolian harps were tuned
[MUSIC]
[MUSIC]
And maybe those Aeolian harps,
which were actually wind harps, Aeolian
they'd build these giant harps that the
and it would make these ghostly minor,
the sound of the sound of Charlie Daniels
which I don't know, maybe there's an aioli
maybe they make a certain kinda mayonnaise
But, that's pure speculation and
has no place in a serious, instructional
Okay, how much we got left, we've got the
this is definitely the most interesting
[MUSIC].
[MUSIC]
Right and so it's like a, it's a minor.
[MUSIC]
then, but it's got like this weird flat,
[MUSIC]
[MUSIC]
[MUSIC]
So, weirdly enough, it's called a minor
And it spells out,
those minor, seven five, five, chords,
We're getting very close to jazz here.
So, we're just gonna back off a little
And that's, that's a subject for
a whole nother series of, videos which
And i'm excited about them, but, right
But we have to continue all the way up the
And that is of course, the Locrian mode,
who were really the farthest out dudes, I
they were probably you know, smoking some
I don't know what they were doing up there
they were definitely having a great scale.
They [LAUGH].
Do you think they, I don't know, it, it's
they were all drawing straws to get their
And did they draw the first straw or the
That's what I wanna know.
Because if they drew the first straw and
they must have been some really hip dudes
And, then, that it's, actually, there's
[MUSIC].
So, when we do those four notes.
Platonic arpeggios, we are playing through
and, all those different kinds of scales,
no matter what key we're in.
[MUSIC]
We are, iterating through the basis of
We are working out our Western harmonic
So that's pretty cool.
So I would recommend that, now that you
I'm hoping, those three-note diatonic
that you will now go to the four and out
Get very comfortable with those.
And this is going to branch us out into a
And that's, that's pending, that's coming
I'm at this point I am just, finishing up
And we are gonna, like, continue to
such an important part of music, that I
So, please spend a little time with these
Because they are gonna really do you a lot
[MUSIC]
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