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Fiddle Lessons: “House Atomic Pants”

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All right.
So here we're gon, we're gonna talk a
little bit about the tune
House Atomic Pants which is a contrafact.
It's a new tune that's written on the
changes to the great
Sonny Rollins's great tune Pent Up House.
So, you can see how I got house atomic
pants out of that.
So, this is a great tune to talk and
think about the 2 minor 5 to one change.
Because we got we got a great example of
that and
its in the key of G wonderful for fidel.
It's got A minor to D7 to G over and over
Over and over again.
A minor 7.
G major.
the great thing about the minor 7 the 7 to
G change.
As we've got, as, as I talked about in the
lesson of
Fly Me Tuneward, is that when you have a
minor 7 to a 7 to a one chord like that.
You've got three chords that are all part
of same scale.
It's really beautiful that way.
Because if we, if, okay, we're going
in this instance we're going toward the G
scale, and this works in any key,
obviously, we're going to be moving this
stuff around keys but, for
now let's just get this one key together,
G Major.
So, right, we've gone somewhere,
we're going through a dominant chord,
which means we're, you know, moving.
And we're ending up on our home scale of G
major, right?
We're going toward G major.
So G major is like, exactly like G Ionian.
Remember from our modes.
Okay, so working backwards, we've got D7.
It's a four, it's a fifth away which
we're going around the circle of fourths.
So you see that circle of fourths pattern.
Some kind of A chord lead some kind of D
chord leading to a fourth up.
A little slice of that cycle of fourth.
So D7.
It's a Mixolydian scale going with a
seventh chord.
It's a measure with, with the seventh.
And then okay.
Well, isn't Mixolydian.
The fifth degree of the Ionian.
Which we just talked about Ionian being
the G major.
Right, it's the same notes,
same notes, same scale Mixolydian going to
Ionian again.
This is why now we're starting to see, the
modes, all right, the modes.
Makes sense in the context of chord
It, it helps us sort of see oh, it's all
the same stuff.
You know, it's, it's, you know, this is
gonna make it a lot easier.
You know, instead of seeing three chords.
Oh, three chords, I gotta, I gotta
improvise through three chords now.
Oh, these three chords are part of a
pattern which uses the exact same scale.
Because if we go back one more to a minor
7, right?
A minor 7, A minor, minor 7.
Simple minor 7 and that means oh, yeah, a
That's like Dorian, right?
Dorian minor 7 is Dorian mode.
Well, heck,
Dorian mode, Dorian is the second degree
of Ionian also.
G Ionian, A Dorian,
D Mixolydian, G Ionian.
A Dorian.
D Mixolydian.
It's the, all the same scale.
So, when we see a minor 7th to 7 to major,
simple construction like that,
we know that oh, we've got three chords
that we play the exact same scale for.
that's fantastic, so all we have to do is
just, you know, weigh,
you know, just kind of decide, okay, we
wanna kinda lean on the A.
And then lean on the kind of D feeling.
And then lean on the G.
It's all the same scale.
So, remember we did a diatonic arpeggios.
Which are, and why, why don't you go on
back and review those if you're not,
if you don't remember, if you're not
Go on back and the diatonic pressures.
Those are pressures that are designed to
help you play and
get comfortable with playing arpeggios
through the modes, right?
Because we're just spelling out those
modes as you do the arpeggios.
G major.
A Dorian.
D Mixo.
You know, so we can evolve ways of playing
through these this progression.
By adapting pieces
of the a the diatonic arpeggios.
Which is kind of what I did with this
The melody is.
Those are little pieces of those diatonic
So, I just took a little slices and
changed the rhythm a little bit.
So we see this repeated
And then we have a little bit of, in the
first line we have
A little bit of an E seven.
And that's again, just giving us a little
bit of extra color and
kind of shooting us back into the circle
of fours remember it's kind of like a one,
six, right because E
Is the sixth of G
So that gives us a little bit of extra
impetus to move through that
cycle of fourths so, later on we have
smaller slices of the cycle of fourths,
where you get two times.
And then we have we just, it goes again,
cycle for us but they're cut off,
we don't, they don't resolve to the one,
It, but, so it's like D minor seven to G
Now if it did resolve, which it doesn't,
it resolved to C, right?
So, those, we can think simplify these two
D minor seventh to G seventh, we can say,
oh, well that's, you know,
those are actually part of a two-five
cycle that's going toward C major.
So we could play, if wanted to be super
simple about it, we could just say,
we could play the C major scale in those
two bars.
You could do that.
And then, oh, okay, then what oh,
it looks like the whole thing moves down a
whole step C-minor to F.
And, if you look at the melody I make that
very clear
It's the same melody, just down a whole
And, of course, C Minor seven to Fseven is
going to, what is that?
C Minor Fseven, around circle of fourths.
What's the next chord after F, B Flat so,
that's, like, a B Flat Major.
So we could just play a B-flat major scale
for those two bars.
And then we're back to,.
So we've got a bunch of those A-minor
sevens and so what I did.
I have a couple of extra, I've, I have a
solo, so just a solo, for
Housatonic Pants and just a bunch of these
melodies over the two-five change you
And tho and these are like fiddle tunes
these are like the greatest hits of two
five, you know there's just these great
little melodies,
they're like public domain melodies,
just like fiddle tunes, they're really
But there are things that you can vary and
it's just like you put, apply a change in
that little fiddle
tune and here and there you can change
these these are great starting points
to give you some kind of vocabulary, so
you can move through easily.
Through these, these incredibly common two
-five changes you get
what you wanna do with those is you're
gonna want change the key.
You're gonna move them around you're gonna
start changing them but
it's a great place to start and we've got
all kinds of ammunition and
vocabulary for you to get through this two
-five one.
Chord change which is such a huge part of
playing swing and jazz.
So yeah and then at the bottom of the
house atomic pants chart
we have we talked about those two note
chords [SOUND] and
just outlined very simple a minor seven
were we had that [SOUND] to the D seven,
To G major seven.
Just using a thirds and sevenths, right,
just we barely have to move at all.
That's the A minor the, the third on the
bottom, seventh on top of A minor seventh.
To D seven,.
Seventh on the bottom third on top of D.
Third on the bottom, sevenths on top major
And G seven, and so one way to do it is
that way.
And then another voicing is to put those
voicings upside down.
Same notes to, it's slightly different
voicing so
that's one way to back that up so, go
ahead and dive into and
make use of that lovely guitar back up
track two.
And play along, play that along with my
thing you can see.
My hand moving on the place where I'm
playing at and so forth in the imitable
artist works style and yeah when you feel
with that, send me a video of you playing
the melody and
then maybe playing one chorus of.
Some of those, vocabulary, those two-five
two-five greatest hits of two-five over
the changes to Housatonic Pants.
Or you could play the solo, the written
out solo also
okay looking forward to your atomic pants