Specialized Lessons
Fiddle Study

THE G MAJOR SCALE

Definition: A major scale spans one octave (12 half steps) and contains eight notes. Whole steps occur between every note except between 3-4 and 7-8. 3-4 AND 7-8 ARE HALF STEPS .

Following is a diagram of the two G major scales in first position. Half-step divisions are indicated by imaginary "frets" and the proper fingering is given below the diagram. (Optional fingerings for the open D, A, and E notes are shown in parentheses.)

LOWER OCTAVE G Major Scale

1. Ascend the first half of the scale starting upon the open G note on string four, G-A-B-C. The half step occurs between the second and third finger (B-C). Use alternate bowing (down-up-down-up), always starting with a down-stroke. Play continuously (non-stop) until fluent. Then descend the same four notes, C-B-A-G (down-up-down-up), continuously until fluent.

2. Ascend the second half of the scale starting upon the open D note on string three, D-E-F#-G (down-up-down-up). This fingering is identical to the first half of the scale, the half step again occurring between the second and third finger (F#-G). Play continuously until fluent. Then descend the same four notes, G-F#-E-D (down-up-down-up).

3. Ascend the complete scale, continuously until fluent. Then descend the scale.

HIGHER OCTAVE G Major Scale

1. Ascend the first half of the scale starting upon the G note on string three with the third finger, G-A-B-C (down-up-down-up). The half step occurs between the first and second finger (B-C) on string two. Play continuously until fluent. Then descend the same four notes, C-B-A-G (down-up-down-up), until fluent.

2. Ascend the second half of the scale starting upon the D note on string two, D-E-F#-G. This fingering is identical to the first half, the half step again occurring between the first and second finger (F#-G). Play continuously until fluent. Then descend the same four notes, G-F#-E-D, until fluent.

3. Ascend the complete scale, continuously until fluent. Then descend the scale.

TRIADS

A simple chord is called a triad , which contains a root (the note the chord is built upon), a third (third note up the scale from the root), and a fifth (fifth note up from the root). A simple method for "spelling" triads is to hold up your left hand and count alphabetically on your fingers, G-A-B-C-D. Every other note is in the triad (G-B-D). You may figure out all seven triads in the key in this manner but you must use the notes in the particular scale. (In the key of G the F is always sharp.)

ARPEGGIOS

Arpeggios are chords played one note at a time. The notes in arpeggios are most often the starting and stopping points for musical phrases. If you are currently playing strictly by ear you will seek out these notes. Practicing arpeggios will train your fingers to respond more consciously to your ear.

DOUBLESTOPS

Doublestops are partial chords involving two notes and are played on neighboring strings. Voicing is the term used to denote the numerical context (1-3-5) of the notes in the triad. Knowledge of doublestops will lay the groundwork for a harmonic understanding of the fiddle, enable you to back up other instruments, and are useful for arranging and improvising.

THE G-CHORD

Following is a diagram of a G arpeggio. The G major triad is "spelled" G(1)-B(3)-D(5). Doublestops and their voicings are given for each pair of strings.

The following format is a systematic approach for learning doublestops. For the most part it is tedious and I apologize for that. (The alternative is to learn them helter-skelter over a period of ten or more years.) However, the knowledge you will accumulate from your patience will dovetail into many other facets of musicianship.

LOW G DOUBLESTOPS

1. Ascend the G arpeggio upon strings four and three, G-B-D-G (1-3-5-1, down-up-down-up), continuously until fluent. Then descend the arpeggio, G-D-B-G. The doublestops on these two strings are derived from this arpeggio.

2. Practice all doublestops. (Use the fingers which normally play the notes as they occur in the scale.) The lowest combination is G-D (1-5), second lowest is B-D (3-5), and the highest is B-G (3-1). A fourth doublestop, D-G (5-1) can be created using the optional fingering for the D-note. To make it more interesting you can use the shuffle rhythm while you make the changes. (See TYPES OF BACK-UP PLAYING.)

MIDDLE G DOUBLESTOPS

1. Ascend the G arpeggio upon strings three and two, D-G-B-D (5-1-3-5), continuously until fluent. Then descend the arpeggio, D-B-G-D. The doublestops on these two strings are derived from this arpeggio.

2. Practice all doublestops. The lowest combination on these strings is D-B (5-3), second lowest is G-B (1-3), and the highest is G-D (1-5).

HIGH G DOUBLESTOPS

1. Ascend the G arpeggio upon strings two and one, B-D-G-B (3-5-1-3), continuously until fluent. Then descend the arpeggio. The doublestops on these two strings are derived from this arpeggio.

2. Practice all doublestops. The lowest combination on these strings is B-G (3-1), second lowest is D-G (5-1), and the highest is D-B (5-3).

SAME VOICING-SAME SHAPE

There are six possible voicings of doublestops for a triad. The lower note is always given first. They are: 1-3 1-5 3-5 3-1 5-1 5-3

Common voicings will always be the same physical shape on the violin. (In the G-chord study observe that both 1-5 doublestops are the same shape, as are both 3-1's, 5-1's, and 5-3's.) This is true regardless of the chord.

THE D-CHORD

The fifth chord in the key of G is D major. It is spelled D(1)-F#(3)-A(5).

NOTE: Strings 3-2-1 of the D arpeggio form the identical fingering pattern as strings 4-3-2 of the G arpeggio and is also the same voicing (1-3-5-1-3-5). (Three-fourths of the fingering for the G arpeggio transposes to the D chord and all numerical knowledge transposes with it.) This "scrolling" effect is an important strategy for learning the fiddle. (See LEARNING STRATEGY .)

LOW D DOUBLESTOPS

1. Ascend and descend the D arpeggio upon strings four and three, A-D-F# (5-1-3), continuously until fluent.

2. Practice all doublestops. The lowest combination is A-D (5-1), second lowest is A-F# (5-3), and the highest (use optional fingering for D) is D-F# (1-3).

MIDDLE D DOUBLESTOPS

1. Ascend the D arpeggio upon strings three and two, D-F#-A-D (1-3-5-1), continuously until fluent. Then descend the arpeggio. (This pattern is identical to the G arpeggio on strings four and three.)

2. Practice all doublestops. The lowest is D-A (1-5), second lowest is F#-A (3-5), and the highest is F#-D (3-1). A fourth doublestop, A-D (5-1) can be created using the optional fingering for the A-note. (These doublestop voicings are identical to the G doublestop voicings on strings four and three.)

HIGH D DOUBLESTOPS

1. Ascend the D arpeggio upon strings two and one, A-D-F#-A (5-1-3-5), continuously until fluent. Then descend the arpeggio. (This pattern is identical to the G arpeggio on strings three and two.)

2. Practice all doublestops. The lowest combination is A-F# (5-3), second lowest is D-F# (1-3), and the highest is D-A (1-5). (These doublestop voicings are identical to the three G doublestop voicings on strings three and two.)

CHANGING FROM THE G(1)-CHORD TO THE D(5)-CHORD

Playing doublestops is like two singers singing harmony. (This study will also help for singing arrangements.*) Good sounding doublestop changes are the result of certain rules of harmony--avoid leaps of large intervals and use common connecting notes.**

* A systematic study of three- and four-part choral harmony called "voice leading" is often an involved subject of college music theory courses.

** An exception to these rules is when you create doublestop melodies which often make large interval leaps.

A good preparation for each of the following back-ups (low, middle, and high) is to play the arpeggios on the strings being used, first the G arpeggio then the D arpeggio (ascending and descending), repeating the change until fluent. (Observe that both chords contain a D-note.)

LOW BACK-UP (Using only strings four and three)

Since there are three each of the G and D doublestops on strings four and three, many combinations of changes exist. Following are all the possibilities when changing from a G doublestop to a D doublestop, from the lowest combination to the highest. (The changes that most closely follow the rules of harmony are in bold type.)

 G-D (1-5)/A-D (5-1)     G-D (1-5)/A-F# (5-3)      G-D (1-5)/D-F# (1-3)
 B-D (3-5)/A-D (5-1)     B-D (3-5)/A-F# (5-3)      B-D (3-5)/D-F# (1-3)
 B-G (3-1)/A-D (5-1)     B-G (3-1)/A-F# (5-3)      B-G (3-1)/D-F# (1-3)

You certainly don't have to use all of the changes, rather it is the system of learning and understanding doublestops that is important. Once you learn the procedure you can apply it to other chords.

The more you play back-up using doublestops the more you will develop the discretion as to which combinations to use. (If you haven't already noticed, a 1-5 or 5-1 voicing sounds "hollow" while any doublestop that contains the third is "sweet".) Because there are so many combinations of doublestops this type of back-up is an art in itself, one which can become very creative when you start to add passing tones (scale notes not in the chord) and vary the rhythm. Also, good back-up can evolve into good improvising. (See TYPES OF BACK-UP .)

MIDDLE BACK-UP (Using only strings three and two)

Again there are three each of the G and D doublestops on strings three and two, so nine combinations of changes exist. Here are all the possibilities of changes on strings three and two, from the lowest combination to the highest.

D-B (5-3)/D-A (1-5)      D-B (5-3)/F#-A (3-5)      D-B (5-3)/F#-D (3-1)
G-B (1-3)/D-A (1-5)      G-B (1-3)/F#-A (3-5)      G-B (1-3)/F#-D (3-1)
G-D (1-5)/D-A (1-5)      G-D (1-5)/F#-A (3-5)      G-D (1-5)/F#-D (3-1)

HIGH BACK-UP (Using only strings two and one)

Here are the nine possibilities of changes on strings two and one, from the lowest combination to the highest.

  B-G (3-1)/A-F# (5-3)    B-G (3-1)/D-F# (1-3)     B-G (3-1)/D-A (1-5)
  D-G (5-1)/A-F# (5-3)    D-G (5-1)/D-F# (1-3)     D-G (5-1)/D-A (1-5)
  D-B (5-3)/A-F# (5-3)    D-B (5-3)/D-F# (1-3)     D-B (5-3)/D-A (1-5)

After you learn this method of doublestops (low-middle-high) the next step would be to make transitions from one pair of strings to another within the same progression.

THE C-CHORD

The fourth chord in the key of G is C major. It is spelled C(1)-E(3)-G(5).

NOTE: Strings 4-3-2 of the C arpeggio form the identical fingering pattern as strings 3-2-1 of the G arpeggio and is also the same voicing (5-1-3-5-1-3). (Three-fourths of the fingering for the G arpeggio transposes to the C chord and all numerical knowledge transposes with it.)

Practice the C chord using the same procedure as the previous chords. First ascend and descend the arpeggio on a pair of strings then play the doublestops. (Observe that both chords contain a G-note.)

LOW DOUBLESTOPS: Strings four and three of the C-chord create the identical fingering pattern and voicing (5-1-3-5) as strings three and two of the G-chord. Therefore all doublestops will have the same voicing.

MIDDLE DOUBLESTOPS: Strings three and two of the C-chord create the identical fingering pattern and voicing (3-5-1-3) as strings two and one of the G-chord, and will also have the same doublestop voicings. (Use the optional fingering for the E-note.)

HIGH DOUBLESTOPS: Strings one and two of the C chord create a different pattern. Ascend the arpeggio, C-E-G (1-3-5), then descend. You may also include the optional fingering for E. Then practice the doublestops C-E (1-3), C-G (1-5), and E-G (3-5).

CHANGING FROM THE G(1)-CHORD TO THE C(4)-CHORD

To prepare for each back-up play the arpeggios on the specific pair of strings, first the G arpeggio then the C arpeggio (ascending and descending), repeating until fluent.

LOW BACK-UP (Strings four and three)

 
          
G-D (1-5)/G-E (5-3)      G-D (1-5)/C-E (1-3)       G-D (1-5)/C-G (1-5)
B-D (3-5)/G-E (5-3)      B-D (3-5)/C-E (1-3)       B-D (3-5)/C-G (1-5)
B-G (3-1)/G-E (5-3)      B-G (3-1)/C-E (1-3)       B-G (3-1)/C-G (1-5)
          

MIDDLE BACK-UP (Strings three and two)

D-B (5-3)/E-C (3-1)      D-B (5-3)/G-C (5-1)       D-B (5-3)/G-E (5-3)
G-B (1-3)/E-C (3-1)      G-B (1-3)/G-C (5-1)       G-B (1-3)/G-E (5-3)
G-D (1-5)/E-C (3-1)      G-D (1-5)/G-C (5-1)       G-D (1-5)/G-E (5-3)

HIGH BACK-UP (Strings two and one)

B-G (3-1)/C-E (1-3)     B-G (3-1)/C-G (1-5)     B-G (3-1)/E-G (3-5)
D-G (5-1)/C-E (1-3)     D-G (5-1)/C-G (1-5)     D-G (5-1)/E-G (3-5)
D-B (5-3)/C-E (1-3)     D-B (5-3)/C-G (1-5)     D-B (5-3)/E-G (3-5)

CHANGING FROM THE C(4)-CHORD TO THE D(5)-CHORD

To prepare for each back-up play the arpeggios on the specific pair of strings, first the C arpeggio then the D arpeggio (ascending and descending), repeating until fluent.

LOW BACK-UP

G-E (5-3)/A-D (5-1)     G-E (5-3)/A-F# (5-3)     G-E (5-3)/D-F# (1-3)
C-E (1-3)/A-D (5-1)     C-E (1-3)/A-F# (5-3)     C-E (1-3)/D-F# (1-3)
C-G (1-5)/A-D (5-1)     C-G (1-5)/A-F# (5-3)     C-G (1-5)/D-F# (1-3)

MIDDLE BACK-UP

E-C (3-1)/D-A (1-5)     E-C (3-1)/F#-A (3-5)     E-C (3-1)/F#-D (3-1)
G-C (5-1)/D-A (1-5)     G-C (5-1)/F#-A (3-5)     G-C (5-1)/F#-D (3-1)
G-E (5-3)/D-A (1-5)     G-E (5-3)/F#-A (3-5)     G-E (5-3)/F#-D (3-1)

HIGH BACK-UP

C-E (1-3)/A-F# (5-3)     C-E (1-3)/D-F# (1-3)     C-E (1-3)/D-A (1-5)
C-G (1-5)/A-F# (5-3)     C-G (1-5)/D-F# (1-3)     C-G (1-5)/D-A (1-5)
E-G (3-5)/A-F# (5-3)     E-G (3-5)/D-F# (1-3)     E-G (3-5)/D-A (1-5)

Once you have mastered the system of doublestops on these three chords and are able to think of them in musical terms (numbers-letters) learning other chords will be easier.

TYPES OF BACK-UP PLAYING

"CHUNKS"

These are percussive strikes of doublestops on the "off-beat", beats two and four of the measure (or beats two and three of songs in 3/4 time), opposite the bass, which plays on beats one and three (or beat one in 3/4). Mandolin players mostly do this and sometimes banjo players will. Chunks are used when you don't want to intrude on the vocals or instruments that are being featured.

SHUFFLE

There are several types of shuffle rhythms, the most common being the "potato shuffle" (one-tato two-tato) In guitar lingo it's boom-chucka boom-chucka. The timing would be counted as one-twoand-three-fourand (a quarter note followed by two eighth notes). Shuffles are more dynamic than chunks and should be used in the more dynamic parts of a song such as the chorus of a vocal tune, or part B of an instrumental.

SUSTAINED

These are drawn-out single notes or doublestops that create a texture like that of voices singing background. This is very effective in slow songs.

CREATIVE

This is the most advanced form of back-up playing and should be tried after you master the other forms of playing back-up.

In the arrangements of most bluegrass or country tunes, each instrument is usually featured at least once playing a creative (improvisational) back-up behind a vocal verse. The general rule is to doublestop (or single-note) during the vocals and to play more creatively during the vocal pauses. This takes practice as you must be aware of the vocal part as well as the chord progression. Creative back-up may also be used while backing up other instruments, however, always keep in mind to play a supporting role and not overshadow the featured player or singer.

THE NUMBER SYSTEM

The number system is often used to write chord progressions but more importantly it is used to think of chord progressions in context to the key in which you are playing. The number system is also the medium for which songs are transposed. Here is a chart for all chords in the four most popular keys.*

  1

  4

  5

  57

  C

* It is not the intention of this course to explain all of the theory in the above chart as it is too involved. For a complete integrated understanding of musical concepts I suggest the KEYWHEEL Music Theory System , a self-taught course designed for chordal and improvisational musicians. (Reading music is not required.) It is available for $40.00 from Music Potential, 4032 N. Whitman, Tacoma WA 98407.

LEARNING STRATEGY

A scrolling of scale patterns occurs on the fiddle allowing for immediate transposing of knowledge from one key to the next. The order of keys is by intervals of fifths* (the fiddle is tuned in fifths).

C (no sharps)     G (1 sharp)     D (2 sharps)     A (3 sharps)
          

Three strings of C transpose to G (and vice versa), three strings of G transpose to D (and vice versa), and three strings of D transpose to A (and vice versa). All arpeggios and doublestops transpose along with the scale.

* There was a pragmatic reason for starting this study with the key of G instead of C. The key of G transposes to both the keys of C and D and is the most popular key for bluegrass, old-time, and country music. Also, G is lowest note on the mandolin and allows for two complete octaves of the major scale.

THE KEY OF C

Following is a diagram of the C major scale in first position. Half steps are between E-F (3-4) and B-C (7-8). Strings 4-3-2 create the same pattern as strings 3-2-1 of the G major scale. One complete scale is contained in this position. Practice it in two identically fingered halves, C-D-E-F and G-A-B-C, ascending and descending. Then practice the remaining fragments.

To complete the trio of major chords in the key of C here is a diagram of the fourth chord, F major. Strings 4, 3, and 2 of F major create the same fingering pattern, voicing (3-5-1-3-5), and doublestop voicings as strings 3, 2, and 1 of C major. Complete the low and middle doublestop voicings on the lines to the right of the diagram.

THE KEY OF D

Following is a diagram of the D major scale in first position. Half steps are between F#-G (3-4) and C#-D (7-8). Strings 3-2-1 create the same pattern as strings 4-3-2 of the G major scale. One complete scale is contained in this position. Practice it in two identically fingered halves, D-E-F#-G and A-B-C#-D, ascending and descending. Then practice the remaining fragments.

To complete the trio of major chords in the key of D here is a diagram of the fifth chord, A major. Strings 3-2-1 of A major create the same pattern, voicing (5-1-3-5-1), and doublestops as strings 4-3-2 of D major. Complete the middle and high doublestop voicings on the lines to the right of the diagram.

THE KEY OF A

Following is a diagram of two A major scales in first position. Half steps are between C#-D (3-4) and G#-A (7-8). Strings 3-2-1 create the same pattern as strings 4-3-2 of the D major scale. Practice each scale (low and high) in two identically fingered halves, A-B-C#-D and E-F#-G#-A, ascending and descending.

To complete the trio of major chords in the key of A here is the fifth chord, E major. Strings 3, 2, and 1 of the E major triad create the same pattern, voicing (1-3-5-1-3-5), and doublestops as strings 4, 3, and 2 of A major. Write the doublestop voicings on the lines.

DOMINANT SEVENTH CHORDS

Seventh chords naturally occur as an option on the fifth (dominant) chord of a key*. However, I will include the seventh chord spellings for all major triads we have so far discussed. They are the same as the major chords, but with an added note which may be penciled in on the existing arpeggio and chord diagrams. The seventh occurs one whole step below the root and adds a "bluesy" flavor to the chord.

            
             F7 (F-A-C-Eb)  C7 (C-E-G-Bb)  G7 (G-B-D-F)
             D7 (D-F#-A-C)  A7 (A-C#-E-G)  E7 (E-G#-B-D)
             
            

* 17 and 47 chords require the use of an accidental (note not in the key) and are used extensively in blues and traditional bluegrass.

An important reason for knowing music theory is so you can teach yourself. Put your new-found knowledge to use by figuring out how to play seventh chord doublestops. (Sevenths may be penciled into the arpeggio diagrams.)

MINOR CHORDS

You need only learn six minor chords to complete your chord study (arpeggios and doublestops) in the four popular keys (C, G, D, and A). Use the following diagrams to chart the minor arpeggios which you may practice in any order or as you encounter the chords in songs. NOTE: In relationship to a major chord the third is lowered one half step. (So if you already know D just lower the F# to F for Dm.)

D minor (D-F-A) (2m in the Key of C)

A minor (A-C-E) (6m in the Key of C, 2m in the key of G) Strings 3-2-1 are the same pattern as strings 4-3-2 of Dm.

E minor (E-G-B) (3m in the Key of C, 6m in the key of G, 2m in the key of D) Strings 3-2-1 are the same pattern as strings 4-3-2 of Am.

B minor (B-D-F#) (3m in the Key of G, 6m in the key of D, 2m in the key of A) Strings 3-2-1 are the same pattern as strings 4-3-2 of Em.

F# minor (F#-A-C#) (3m in the Key of D, 6m in the key of A) Strings 3-2-1 are the same pattern as strings 4-3-2 of Bm.

C#minor (C#-E-G#) (3m in the key of A) Strings 3-2-1 are the same pattern as strings 4-3-2 of F#m.