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Fiddle Lessons: The Diminished Chord

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No course, musical course of study,
would be complete without, some you know,
without a look at the diminished chord.
That is that pesky sound.
Of you know, the dream sequence.
I'm falling!
And so
where, where gravity suddenly disappears
and falling into a dream.
Why is that?
Why is, why does that give us that
feeling, that feeling of like,
everything is like, turning, spinning, and
going out of control?
One of the reasons is that in a chord
like this every note is a root right?
So like in a, in a chord like G.
It's pretty clear what the root note is,
It's the note your key are in.
I mean there's only one note that,
that you come back to, and that's the home
and that's G.
But in a G diminished chord,
where's the root?
I, there is not root.
It's all the root,
every note could be the root because each
note is exactly same distance.
From every other note so there's no way we
can tell what the heck is going on.
And that's, it's,
that makes this chord very useful for you
know, places where we need.
Sort of a question kind of feeling in the
music or
where we want something that's gonna you
know, shoot us off in another direction.
Or whether we want a lot of tension and
like you know, if there's a seventh chord,
and we want to go some place like a G7.
We want that G7 to be a little bit
harsher, to have a little bit of
strangeness to it.
We can.
Build off the, we could go.
We can add a lot of tension
to that seventh chord by playing a
diminished arpeggio, so let's just.
One of the great things, even though this
is kind of a tough chord to hear at first.
The great thing is,
is that there is only three chords.
Three dimension chords.
There's the g.
Diminished chord.
Which also happens to be the B-flat
diminished chord.
And the D-flat diminished chord.
And the E diminished chord.
So it's four chords in one.
There's the A-flat.
Which is also four chords in one.
All those notes are roots, so that's, the
other one.
And then, A.
And that's it.
Only three, to learn.
And, the great thing is that.
All the intervals are exactly the same.
They're all these weird minor thirds.
And so, because they're minor thirds,
they're they don't really,
they, they lay funny on an instrument
that's tuned in fifths.
They, they, there's this continual.
So, you know, if we started way up here,
you can kinda see how they work on the
You know if we, let's say we start here.
Where am I?
I don't care.
Right, so we go up a minor third and
then we go back.
You see that, you can
you go like a half-step back, and then.
So you can see that there,
there's a continual back step
of a half-step, and
that gets us through these series of minor
So when we take it down,.
To the first position, is just, its still
the same thing.
just a matter of learning these little
finger shapes.
And just be glad you're not playing
the guitar, because the guitar is a whole
can of worms in itself.
Because it's got that glitch on the fifth
string that for some reason, somebody
tuned it funny there.
But at least we have consistent distances
between all the strings on the fiddle.
So we're doing good there.
So, basically, all we have to do is learn
our physical,
just standardize our fingering really.
And for g I like to go.
For A.
For A flat.
And you know what?
Maybe you noticed that there's only three
in first position
finger positions to play, there's like
there's that
one, there's
and that's it,
it's just arranged in different order.
And if we, if we look again at G-major.
It's the same finger position on the last
string as it is in the first string.
And this is true, in all the keys.
So what we have, we have the.
It's the same.
Different notes.
Same finger position.
That's interesting.
And then we, in the middle we have,
And that's, and that's just and then if we
go to A, we see it's another chunk of the
same series.
Just move to a different string.
And again, T [SOUND] hat finger
position is the same on the bottom string
[SOUND] as it is on the top string.
Even though it's different notes.
So in a way it's easy.
In another way it's just a big can of
But it's super important.
This is such a useful and fun, tonality,
that, you should really be aware of it,
and, get comfortable with these positions.
And yeah just start playing around with
them because they will definitely come in
handy for all kinds of things and
bluegrass, actually.
There's, there's some ways to use these in
bluegrass, so.
Get with it.
Get, get get on the diminished bus, if you
haven't already.
And start getting comfortable with those
Yeah, well here's a little example of,
of a place you might use a little bit of
diminished action in a, in a, in a tune.
Say something like salty dog blues.
You could used a little bit of diminished
Standing on the corner with a low down
blues, great big [INAUDIBLE].
Bottom of our shoes, those low down blues
are a great place to use the diminished.
You could also use it on the D chord, so
you're using on a, the A, the G, let's
You're using it on the E chord, right?
G, E.
Let's use that on the dimension,
let's kick it off from the third of, of
the E chord.
And A7.
And then we could play another diminished
on the D7 chord also kicking off
from the third of that chord which is the
F sharp.
Just throw that in, it's kind of fun.
So again, Salty Dog Blues.
Let's try it one more time.
Again, Salty Dog Blues on the E chord and
the D chord we're gonna play a little
diminished arpeggios.
And there's the D.
That time I went down.
That's kind of a nice one.