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Fiddle Lessons: “Fly Me Toonward”

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All right.
Well, I think you're starting to get the
idea that music so
much of Western music whether it's jazz
popular music classical music.
All these kinds of music that have chords
move in a certain path.
Generally tend to move in a cycle.
And that cycle is part of the dominant
The cycle four.
It's where one chord will lead to another
If we have a seventh type chord.
Okay, it's gonna push us,
it's gonna dominate us, it's gonna like
make us go to that next chord.
So if we have like a G7, that's gonna lead
us to a C.
So and on our instruments we can, we can
work that out.
We can just see, okay well G.
[SOUND] One, two, three, four.
We're going up a fourth.
Two, three, four, to the C of,
start from C.
One, two, three, four, to F.
At F, one, two, three, four.
To B flat.
So, if we go.
G, C, F, B flat, E flat.
A Flat, D Flat, G Flat, also F Sharp.
B, E, A, D, G, C.
Back to this on the home key.
And that continues around it, covering
every note in the scale.
One really important thing, is that we
wanna do, and
this is gonna help us so much for
everything is just memorize that cycle.
Start at any point in the cycle.
You can start anywhere, it always leads
around the same.
And you can download that little PDF of
the little clock face,
the running around 12.
Now it's just like 12 hours in the day.
It all goes together.
C leading to F, leading to B flat, leading
to E flat,
leading to A flat, leading to D flat,
leading to G flat, pssh,
F sharp, G flat, F sharp, B, E, A, D, G,
you know.
What's interesting is that B, E, A, D, G,
B flat, E flat, A flat, D flat, G flat.
It's the same thing.
Flat, sharp.
So, that's one way to think about that.
Those, that, having that cycle in your
head, you're just driving, you know,
you're in your car driving, okay, C, F, B
flat, E flat, you don't even have to
sing really, you just wanna get those,
that cycle ingrained.
And they all cantaloupe there, you know?
In your, in your head.
And and then get it on your instrument.
You know?
And so forth.
You know, and that's a great little
Just go.
Go up, go down.
Either way, you could make a little melody
out of it.
Up, up, or you can just go-
you can start seeing those, those
geometric patterns, right?
You go.
It's like a little box.
You can go that way, or you can go.
All different ways.
You can go up, go down.
You go.
G right?
You know?
There's all these
great little patterns that you can start
see happening on the instrument as you go
around the cycle of fourth.
And so many, so many tunes.
Let's see.
How about Sweet Georgia Brown?
Perfect example, cycle of fourth.
We've got that
little sixth movement, right?
The key, if we're in the key of F, go to D
first and then by the door.
C7, to F.
Another great example a tune, you know,
Fly me to the Moon.
I've just put up a song called Fly Me
Toonward, which uses the same
chord pattern, as Fly Me to the Moon, what
a great, great song.
Fly me to the moon, and let me swing among
the stars.
Let me see what Spring is like on Jupiter,
and Mars, and some of the other planets.
In other words, [LAUGH] give me a big
So great song great chord progression.
If you download that chart of Fly Me
you'll see those chords come up and you'll
look at you'll see what's the first chord?
It's like A type, some kind of A chord,
So A minor 7.
If you just eliminate the little letters
numbers and just look at the name of the
chord, oh okay, right, okay.
You'll see.
So the first five chords are totally in
the cycle of fours and
then we have a little jump right?
We have a jump of.
We have like a flat jump that's pretty
common also.
You have that little flat jump.
You see that in a lot, a lot of jazz
a lot of Tin Pan Alley great, those great
standard tunes,
they have a little flat five, and then it
starts again,
So again you have this huge Arc of the
cycle for us.
So and you can put any melody over those,
Cycle it, cycle keeps going.
So what I did with Flaming Tune, it's a
very simple tune.
It's sort of like an instructional tune.
And where we spell out the way to sort of
make those changes, clear.
You know?
What is actually,
what's happening during that, you know,
those cycle of fourths?
And what I'm doing is, like, leaning
pretty hard on the seventh of,
one, like the previous chord and then
going to the third.
And usually, those notes are very close
For instance, the, the G7 to the C7.
The seventh of G is only a half step away
from the third of C.
And then, like we go, from, oh, A-minor
the D
Or better yet, D-minor to G later on in
the tune, about the third line down.
The seventh of D-minor.
Go into the third of G seven
So we dress that up partly.
Some of the notes around it.
And then C to Amin, and
then Dmin to G again, to C, right.
And of course Dmin to Gmin to C, if we
think of,
the D minor being the Dorian mode of C,
which is the Ionian mode.
Ionian, Dorian.
And then the G7.
G is the fifth degree of, it's the five,
five chord with C, seventh chord.
Ew, It's five chord, right.
That means oh, it's the seventh chord.
That means we're playing mixaledian,
G mixalidian happens to be the same exact
notes as E,
as C Ionian, right?
It's just, we're putting a different base
So, and the D, Dorian, is connected with C
Dorian and, and mixolydian.
So in that D Minor, G 7 to D Major 7
on the third line, it's all the same
It's a C Major chord.
It's the same note, it's the same scale.
So those kinds of things are just so
beautiful, because you can just say,
well, there's three chords here but, oh
right, its a minor seven, to seven to one.
D minor 7 to G 7, oh.
That's all the same scale.
I can use all the same scale for all those
three chords.
So those kind of things are super
important for this stuff.
And you can see what I did there.
Just played a descending C major scale
starting on the F.
So, when you play through this you're kind
of spelling out those changes.
It's not like the most complicated scale
but its really good.
One of the things you're gonna want to do
when you play it and
you're just getting started with playing
through with these
kind of changes is that you're gonna wanna
arpeggiate,through those changes.
Just play those arpeggios.
And that's why we're talking about, you
know, those five chord qualities.
Because we wanna be able to, at will,
spell out those arpeggios.
It's like we're playing chords, you know,
we're not,
we can't really do full chords but we can
play arpeggios.
So that's how we get into the sound and
get into being able to, play
intelligent and beautiful lines on chord
And that's what we're here for, right?
We're, we're, we're getting into that.
So again, you know, it's just getting
these sounds in our mind and
the sounds in our hands, and it takes a
while, but
it's doable, many many people have done
it, you can do it, I've done it.
So if I've done it, you can certainly do
it because well.
But okay so when you play Fly Me to Her
just remember you're spelling out you're
kind of spelling out, a way to,
you know, make these changes sound like
changes are happening.
It's called making the changes.
So, take those key notes and, just bring
them out so
that we really hear the chord change when
we're playing the melody.