Chords for Peghead Nation's Theory for Mandolin and Fiddle Course with Chad Manning
Tempo:
75.325 bpm
Chords used:
Fm
G
C#
C
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Fm] [G]
[C#] [E] [F] [G#m] [C]
Hi, I'm Chad with Peghead Nation, and I'm really excited to be starting this new class
on music theory, and more specifically, music theory for fiddlers and mandolin players.
So we're really going to be exploring how the theory lays out on an instrument tuned in fifths.
We're going to go through major scales, we're going to go through arpeggios, we're going
to work on different chordal extensions, like our major sevens, dominant sevens.
So here, check this out, I'm going to do it from the beginning here.
So we have a C major chord, or I should just say C, C, [Cm]
C minor, [N] C major [Em] seven, [Fm] C [C] seven.
[Dm]
[G#] [Gm] We're going to talk about classic bluegrass chord progressions, we're going to talk about
how to use seven chords as transition chords, we're going to talk about harmony, how to
come up with harmony, we're going to go through the modes of all the scales, and we're going
to talk about how to improvise out of some of these ideas.
If you start putting slides and making some of these notes bluesy, you might be able to
get kind of more music out of it.
You know, just doing that sort of thing.
[G] Like that sounds a little more interesting.
But it's all the same.
[D] And I recommend too, if you play, if you're a fiddler, I recommend trying to get your
hands on a mandolin.
A lot of this, the theory is easier to grasp on a fretted instrument, because you don't
have that black, vast, empty space of the fingerboard, where it's kind of harder to
see the patterns.
And on a mandolin, you can play four note voicings of chords, which makes it easier
to find your two note voicings on the fiddle.
I would recommend not going too fast, working too quickly through this.
The concepts, they're not going to be too difficult to grasp, but the real important
part is internalizing this stuff, and making sure that you really, well I like to say that
you can hear it, you see the patterns, and you have the muscle memory as well.
And again, you can just see where all this stuff lies in this short space.
So I think this is going to be a lot of fun, and I look forward to teaching this class
with you guys.
Alright.
[Am] [Fm]
[C#] [E] [F] [G#m] [C]
Hi, I'm Chad with Peghead Nation, and I'm really excited to be starting this new class
on music theory, and more specifically, music theory for fiddlers and mandolin players.
So we're really going to be exploring how the theory lays out on an instrument tuned in fifths.
We're going to go through major scales, we're going to go through arpeggios, we're going
to work on different chordal extensions, like our major sevens, dominant sevens.
So here, check this out, I'm going to do it from the beginning here.
So we have a C major chord, or I should just say C, C, [Cm]
C minor, [N] C major [Em] seven, [Fm] C [C] seven.
[Dm]
[G#] [Gm] We're going to talk about classic bluegrass chord progressions, we're going to talk about
how to use seven chords as transition chords, we're going to talk about harmony, how to
come up with harmony, we're going to go through the modes of all the scales, and we're going
to talk about how to improvise out of some of these ideas.
If you start putting slides and making some of these notes bluesy, you might be able to
get kind of more music out of it.
You know, just doing that sort of thing.
[G] Like that sounds a little more interesting.
But it's all the same.
[D] And I recommend too, if you play, if you're a fiddler, I recommend trying to get your
hands on a mandolin.
A lot of this, the theory is easier to grasp on a fretted instrument, because you don't
have that black, vast, empty space of the fingerboard, where it's kind of harder to
see the patterns.
And on a mandolin, you can play four note voicings of chords, which makes it easier
to find your two note voicings on the fiddle.
I would recommend not going too fast, working too quickly through this.
The concepts, they're not going to be too difficult to grasp, but the real important
part is internalizing this stuff, and making sure that you really, well I like to say that
you can hear it, you see the patterns, and you have the muscle memory as well.
And again, you can just see where all this stuff lies in this short space.
So I think this is going to be a lot of fun, and I look forward to teaching this class
with you guys.
Alright.
[Am] [Fm]
Key:
Fm
G
C#
C
E
Fm
G
C#
_ _ _ [Fm] _ _ _ [G] _ _
_ [C#] _ _ [E] _ [F] _ _ [G#m] _ [C] _
_ _ Hi, I'm Chad with Peghead Nation, and I'm really excited to be starting this new class
on music theory, and more specifically, music theory for fiddlers and mandolin players.
So we're really going to be exploring how the theory lays out on an instrument tuned in fifths.
We're going to go through major scales, we're going to go through arpeggios, _ we're going
to work on different chordal extensions, like our major sevens, dominant sevens.
So here, check this out, I'm going to do it from the beginning here.
So we have a C major chord, or I should just say C, C, [Cm] _
C minor, _ _ [N] _ C major [Em] seven, _ _ [Fm] _ C [C] seven.
[Dm] _
_ [G#] _ [Gm] We're going to talk about classic bluegrass chord progressions, we're going to talk about
how to use seven chords as transition chords, we're going to talk about harmony, how to
come up with harmony, we're going to go through the modes of all the scales, and we're going
to talk about how to improvise out of some of these ideas.
If you start putting slides and making some of these notes bluesy, you might be able to
get kind of more music out of it. _
_ _ _ _ _ You know, just doing that sort of thing.
_ _ _ [G] _ Like that sounds a little more interesting.
But it's all the same.
_ _ _ _ [D] And I recommend too, if you play, if you're a fiddler, I recommend trying to get your
hands on a mandolin.
A lot of this, the theory is easier to grasp on a fretted instrument, because you don't
have that black, vast, empty space of the fingerboard, where it's kind of harder to
see the patterns.
_ And on a mandolin, you can play four note voicings of chords, which makes it easier
to find your two note voicings on the fiddle.
I would recommend not going too fast, working too quickly through this.
The concepts, they're not going to be too difficult to grasp, but the real important
part is internalizing this stuff, and making sure that you really, well I like to say that
you can hear it, you see the patterns, and you have the muscle memory as well.
And again, you can just see where all this stuff lies in this short space.
So I think this is going to be a lot of fun, and I look forward to teaching this class
with you guys.
Alright.
[Am] _ _ _ [Fm] _ _
_ [C#] _ _ [E] _ [F] _ _ [G#m] _ [C] _
_ _ Hi, I'm Chad with Peghead Nation, and I'm really excited to be starting this new class
on music theory, and more specifically, music theory for fiddlers and mandolin players.
So we're really going to be exploring how the theory lays out on an instrument tuned in fifths.
We're going to go through major scales, we're going to go through arpeggios, _ we're going
to work on different chordal extensions, like our major sevens, dominant sevens.
So here, check this out, I'm going to do it from the beginning here.
So we have a C major chord, or I should just say C, C, [Cm] _
C minor, _ _ [N] _ C major [Em] seven, _ _ [Fm] _ C [C] seven.
[Dm] _
_ [G#] _ [Gm] We're going to talk about classic bluegrass chord progressions, we're going to talk about
how to use seven chords as transition chords, we're going to talk about harmony, how to
come up with harmony, we're going to go through the modes of all the scales, and we're going
to talk about how to improvise out of some of these ideas.
If you start putting slides and making some of these notes bluesy, you might be able to
get kind of more music out of it. _
_ _ _ _ _ You know, just doing that sort of thing.
_ _ _ [G] _ Like that sounds a little more interesting.
But it's all the same.
_ _ _ _ [D] And I recommend too, if you play, if you're a fiddler, I recommend trying to get your
hands on a mandolin.
A lot of this, the theory is easier to grasp on a fretted instrument, because you don't
have that black, vast, empty space of the fingerboard, where it's kind of harder to
see the patterns.
_ And on a mandolin, you can play four note voicings of chords, which makes it easier
to find your two note voicings on the fiddle.
I would recommend not going too fast, working too quickly through this.
The concepts, they're not going to be too difficult to grasp, but the real important
part is internalizing this stuff, and making sure that you really, well I like to say that
you can hear it, you see the patterns, and you have the muscle memory as well.
And again, you can just see where all this stuff lies in this short space.
So I think this is going to be a lot of fun, and I look forward to teaching this class
with you guys.
Alright.
[Am] _ _ _ [Fm] _ _