Bill monroe double stops

[Steve Jeter]

I got a monroe and doc cd this weekend. Seems Bill starts out a lot of solos with double stops. sounds cool I want to get in on this . I looked on comando and they have like 111 measures of doubles in g alone. Which ones do you use?? Im trying to build up a sort of box of licks around g positon 3rd fret a @5th etc. Kinda like the blues box on guitar . Ive done some good on this but could use any advice
thanks much
steve http://www.mandolincafe.net/iB_html/non-cgi/emoticons/mandosmiley.gif

[fishdawg40]

For Starters in G....

A-|---2---5--------|
D-|---5---9--------|

E-|--3--7------|
A-|--2--5------|

[JimRichter]

Double stops are one of the keys to undertanding Monroe (and fiddle tune oriented music).

Double stops are usually just fragments of chord shapes. #Hold down a G chord and hit any two consecutive pairs of strings --that's a double stops #If you know your chord shapes==and any chord theory==you can set up all kinds of riffs/exercises across the fingerboard. #By chord theory, I mean understanding something simple like a I-ii-iii-IV-V-vi-vii-I type progression in harmony. #You can learn riffs, but I think it's much more beneficial to try to teach your self some rudimentary harmony along the way, since that is the foundation of the double stops.

Jim

[Steve Jeter]

thanks fish and jim.
nobody seems else seems interested thanks for your time
steve http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif

[fishdawg40]

nobody seems else seems interested thanks for your time
# # # # # # # # # # steve http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif
No problem. #Perhaps this should be moved into the technique forum?

[Jonathan Reinhardt]

I don't think it's about noone's interest. Give it some time to collect input!
Monroe style is all about double stops and more, as Jim R. said.
Listen, listen again, and then again and again (that's what it takes) how he moves between the double stops and the single notes, with slides here and there, esp. on the bass strings. A bluesy feel, but very fiddle.
Glad you enjoy this aspect of mandolin, as it is so special on the mandolin vs. the fiddle.
I have been trying for a year to do a Jim Buchannan fiddle break (double stops) on mandolin, to no avail - he must be cross tuned or something, but meanwhile, I came up with everything but the extreme 7th he got. Mine is smoother, and pleases me.
This is just to say, when you put it all together, it may just be you! From time to time I can note for note it, but other times I am at a loss to get it and must reinvent slightly.

rasa
Jonathan Reinhardt

[mandroid]

Diatonic harmony can be done like scales, adding a bit of music theory ...
Maj scale would be MmmMMm..., 7th step somewhat in a tossup, depending on where you want it to lead to, diminished with a leading tendency back to the I/ tonic perhaps, ?
I ii iii IV V vii viii 8va

[handpicked]

This is a set of double stops for ascending & descending # sliding tremolo licks (if I can #tab it out right)...
note that the pattern is only 3 different shapes...this is one octave....learn it all yer keys and you can string em together with the chord changes...the G double stops quickly become C or D or whatever just by moving one finger and picking up the pattern for the new chord or key center...blah blah blah....happy pickin' #

E----------------7-----10
A--5----10-----10----14
D--9----12-----
G--

I use slides,hammer-ons and pull-offs on the major pentatonic and flat 3rd, flat 7th tones in between the double stop notes to flesh things out melodically, etc...Good topic, Stevo!

[acousticphd]

A common Monroe and Monroe student double stop lick (for eg, if you listen to David Long's playing) to give the bluesy sound might be like this, using the flatted 7th tone in the chord.

(G /G7 chord double stop; numerous rhythms possible ):
E---1--3--3--3--1--3--3--3
A---5--5--5--5--5--5--5--5

or
D---3--5--5--5
G---7--7--7--7

Listening to the different double stop shapes helps make the connection of whether the different forms consist of the 1-3, or 1-5, or 3-5 tone combos, and which notes you can vary. #My G double stops were built on the 1-5 (or 5-1), then throwing in the 7th. #When the double stops contains the the 3, using flatted 3rd, as Mike says, is another basic trick
(again, G chord:)
E---3--3-7--3--3-7--3
A---5--5-5--5--5-5--5

Playing along and working on double-stop shapes and licks while listening to something slow and bluesy is something I find fun and good practice, as opposed to simply woodshedding on scales and shapes.

[Perry]

One of the more concise explanations I found on double stop "theory" was in this book:

http://www.elderly.com/books/items/49-695357.htm

specifically the discussion on the "K" shape....I personally found it very helpful