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Fiddle Lessons: “John Hardy” Substitutions

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[MUSIC]
Since Scott was here we talked a little
bit about the tune John Hardy which is you
can preset this as a easy tune or
as an intermediate tune or an advanced
tune.
But let's talk about, a little bit about
some advanced things.
You know, John Hardy is one of those tunes
that is very simple.
Kind of goes John.
[MUSIC]
And then a fast lick.
[MUSIC]
Right, but it's pretty simple.
It's just G to, C, with a little bit of F
in it.
That keeps repeating until the end, where
you get a long run of five chords.
Which in this case would be a D 7 so if we
just, we're in G.
Just have a sweep of G chord.
[MUSIC]
Yeah and then it goes to the C
[MUSIC]
and then a little bit of F
[MUSIC]
back to the G mmmk And
then that long D seven.
[MUSIC]
That's sort
of an opportunity to play all your hot
licks in D.
So what, what are some of the hot licks we
can play?
There's the.
You know, the kind of bluesy pentatonic.
[MUSIC]
Right.
That we could do.
But we could get a little bit farther out
with this by using.
Couple of different ideas.
We could use the diminished arpeggios.
We could play a diminished arpeggio off
both the C chord.
We could then play it as a C7 chord,
right?
[MUSIC]
You could play a diminished arpeggio.
We've talked about this.
Off that chord by starting from the third
of the C chord.
So if you take the, the C.
[MUSIC]
And we go up to the third
[MUSIC]
which is the E note.
And then we just go.
[MUSIC]
Is that, how does that sound.
Is the C seven chord.
[MUSIC]
Sounds pretty interesting,
got some funny notes in there.
But obviously, the E works, and then the G
works really well.
And then, the B flat works really well and
then we've got
[MUSIC].
Really sad.
What is that note?
[MUSIC]
It's actually a, what we call a flat nine.
A nine is just like a two, right?
So it's actually like a D flat.
You know, but when we call it a nine, that
means we've got seventh in there.
And we're always you know,
every time it's a nine chord, there's some
kind of seventh note also.
And that's why we bump it up into those
higher numbers,
because there's a seventh under there
bubbling somewhere.
So that could work especially if you're
playing fast licks
[MUSIC]
right against that C seven chord,
one two three and
[MUSIC].
It's very colorful, kind of tense,
interesting, just like old John Hardy
himself, who was a desperate old man.
So we could do that, and then again, for
that D7, because it's a seven chord,
we could do that same kinda thing working
off the third of the D chord, which,
what is the third degree, there, that's
like a, would you play a D chord.
[MUSIC]
That's it, the F sharp.
[MUSIC]
Right, same thing.
[MUSIC]
Yeah, so we got that, that little bit of
tension there.
So that, that could work.
So let's just try that.
We'll go through one course of that kind
of slow.
One, two, three.
[MUSIC]
Back into G.
[MUSIC]
Let's try it again.
One, two three.
[MUSIC]
So that kind of works.
That can be fun.
Probably the best tactic for that, is to
use it once.
So, you just like, da duh da
[MUSIC]
And then.
[MUSIC]
So
it just kinda whips by, a little surprise.
A little let's see, you know, yeah.
[LAUGH] Just a funny little note, going
by, very quickly.
What else could we do?
That D7 is just a ripe possibility.
We could try something really radical and
this actually is gonna be
a little flag pointing out into the outer
world of, of jazz here.
This is for you real advanced players who
are not scared.
And, maybe you're playing with the rest of
the band,
who might be okay with a little bit of
experimental quality.
We have something called the flat five
substitution idea.
Where, if you have, for instance, a D7
chord.
Let's just talk about the D7 chord
[INAUDIBLE].
[MUSIC]
Two very important,
probably the most important notes, besides
the D, of a D seven chord are the third,
which is that F sharp
[MUSIC]
and the seventh.
[MUSIC]
And that really gives you that feeling,
if you just play those two notes
[MUSIC]
that really.
Gives you the character of the chord and
third kind of tells you whether it's major
or minor chord.
And the seventh tells you whether or not
you're gonna be sitting on that chord or
whether it's gonna be somewhere.
For example if you played a major 7, you
just played a D with a major 7.
[MUSIC]
We're all happy,
we're not going anywhere, we just live
here.
[MUSIC].
But if we play a seventh,
[MUSIC].
That's, a little, things are about to
change, something's about to happen.
And what is about to happen, and we're
going to keep.
[MUSIC].
With John Hardy, it's great, because we've
got to build that tension.
[MUSIC]
Til
we finally are forced back to the key of
G.
[MUSIC]
Very happy resolution,
even though Johnny Hardy dies in the end.
He probably died.
Well it doesn't really matter, it's just a
song.
So so what can we do?
We're talking about that five set, five
substitution which means we're going
to play a scale that is a flat fifth away
from the D7.
Now what would that scale be?
A flat fifth, let's count up from D.
[MUSIC]
and then we are going flat at five.
Oh, that's a scary.
[MUSIC]
That is an A-flat.
So that would be a very.
Interesting chord to play against a
D-seven.
And of course, it's gonna be an A-flat
seven chord.
All right?
So, what, what is that?
Let's see.
Okay, we start from.
[MUSIC]
Gonna fill that out.
A flat.
[MUSIC]
C.
[MUSIC]
E flat.
[MUSIC]
What is that, G flat?
Oh, you also can call a G-flat an F-sharp
and then A again.
So, so why, why does this work?
Why do people even bother with this kind
of stuff?
What, what, what's the point?
Well the point is that you can get a very
interesting
sound because the very important notes.
Of a chord that's flat fifths away from
the original
chord we're talking about, a seventh
chord.
Well let's see.
Okay.
What are the third and
seventh notes those are the important
notes, right?
So, we have the seventh, let's play the
seventh.
[MUSIC]
Which is as we said, it's like a D, a G.
G flat is also an F sharp.
And then the third happens to a C.
[MUSIC]
Well aren't those the same exact
notes that were the seventh to third,
third and seventh of the D 7.
Yeah, yes they are except they are
reversed.
Right, so the D, seven.
The third is F-sharp and the A-flat seven,
the seventh is the F-sharp and the third
is the C.
So whether we play we,
whether we play a D or we play an A-flat.
[MUSIC]
[LAUGH] It's It's they, they fit.
Which is really cool.
Now you can have some other notes in there
that are gonna really be weird and
that's were it makes it complicated that's
why we don't hear a lot of this kind of
stuff in string bay music in general
because most.
Times you have a lot of people playing a,
a full chord at the same time.
So what you have is like a bunch of people
that are gonna be playing that d seven
with an a note in it and they might play
some other notes that don't fit so well.
With an A-flat seven.
Let's just go ahead and play that D chord.
[MUSIC]
So, maybe you would have to ask,
you would have to plan this ahead of time.
You would say, well guys, Scott,
when we get to that D7 chord on My Second
Time Around, my solo, could you like,
find a chord, a D7 chord that doesn't have
an A in it, maybe?
Because that's the note that really
clashes.
>> Mm-hm.
>> Is that possible?
>> Oh yeah.
>> Is there something like that on there?
What do you got?
[MUSIC].
That's nice.
Yeah.
Does it, and
do we have a seventh in there somewhere?
[SOUND].
[MUSIC]
Yeah.
Okay.
So that
[MUSIC]
That's a little bit better, that kind of.
[MUSIC]
That kinda works,
huh?
>> Mm-hm.
>> Yeah, it's not quite as clashy.
It's still odd,
but it's not quite as weird.
So if we did that, so
let's, let's say we're gonna do a chorus
of John Hardy and, and, you know, if,
if you could play that chord rather than.
>> Mm-hm.
>> Some other chord,
that would be the greatest.
>> Mm-hm.
>> Coz then we could like get all
weird.
>> Yeah.
>> Okay.
Let's try it, okay.
Here we go and I'm gonna play that C
diminished on the C thing.
The third time, right?
So let's try it.
One, two, three.
[MUSIC]
[LAUGH] Okay.
Okay, then ou have to get out, right?
[MUSIC]
You can do that.
[MUSIC]
So
then we have to find a way, graceful way
of getting out, of that corner.
So that's a whole other lesson, I think.
How to get out of these corners that you
put in.
But, I just want to suggest this, this is
kind of an interesting thing.
The flat five substitution idea.
Which is it's such a common thing in jazz,
that it's got its own name.
Oh yeah, I did the five, five
substitution.
So, it's one of the things if you hear
somebody playing some
really weird stuff over a seventh chord,
very often, that's what they're doing.
So yeah, just a, just something to play
around with if you know,
if you're playing with some people that
aren't gonna like,
beat you up if you you know, try to get
some of those weird notes in there.
Yeah.
So be careful.
But you know, it's only music.
You can't really hurt anybody that bad
with these notes.
So good luck.
[MUSIC].