Mandocello fundamental thinking

**mandognome** · Jul-12-2008, 4:43pm

I'm enjoying my new mandocello immensely. I was hoping to get some thoughts from more experienced players before I build any bad habits.

In my practice time so far, I've tended to revert back to mandolin fingerings (2 frets per finger and not shifting) once I get up the neck. It's workable when I have finger 1 anchored on fret 7. A big stretch but still a temptation at fret 5. Is that OK or is there a better way to think about it?

Also, playing in first position in the C major scale is pretty easy with mandocello fingerings (like the way Mike Marshall describes on the D'addario video), like this:

C major scale (fingerings in parenthesis) starting on low course and ascending
C(open) D(1) E(3) F(4)

G(open) A(1) B(3) C(4)

But in the key of D or A, I noticed that I tend to play it differently:

D major scale, starting on the low course and ascending
D(1) E(2) F#(4)

G(open) A(1) B(2) C#(4)

D(open)

Is that a good general technique for finger placement in first position? It would be closer to the C-scale placements to put finger 3 down (the ring finger) instead of 2 (the middle finger) but feels less natural, and seems to put a bigger stretch in the pinky.

I can't think of a way to play in first position in these keys without either shifting or using upon strings.

Lastly, any essential resources that you can recommend to help me get my fundamentals down for mandocello?
Thanks!

**violmando** · Jul-12-2008, 6:50pm

That's how I do it, but I've never taken lessons; that's bowed cello technique and it's called an extension. Works great! If you start thinking flats, you'll do the same thing in reverse for when you have to put your first finger on the first fret instead of second; that's called a backwards extension and then you'll stretch your second finger up to where it normally goes. Make sense? I minored in classical cello in college; I'd probably sound terrible with the bow, but all that fingering came in handy. WOW, is your new cello COOL! Yvonne in Dayton.

**mandognome** · Jul-12-2008, 8:42pm

Thanks Yvonne. I didn't even realize when I wrote the post how naturally I use finger two when the next note is a step away, and finger three when it's a half-step.

What would your classical music minor say about my up-the-neck question, if it's sensical? (the question that is)

**violmando** · Jul-13-2008, 11:22am

There are a few books for mandocello but they are hard to find; I'd look for a bowed cello method book and get book II or III cheap (USED) and buzz through the exercises for fingering work. It's been awhile since I used an adult method (I teach school strings), but I think the Lee or Dotzauer books have exercises for fingerings---I would look through my stuff, but it's still in stacks of boxes since my last move. Is David W. out there? He's another mandocellist and more into technique than me...
I know I use second position alot--when you move your first finger up to the C natural on the A string, but it also count when you put it at C#. And I use Fourth position, when you put your first finger on that high E on the A string. After that, who knows, right? I'm one of those folks, tho', that writes in what I'm doing into the music so that I don't have to guess each time--I'm talking mando orch stuff here--if I find something that works, I stick with it. Yvonne

**David Westwick** · Jul-13-2008, 5:54pm

Hi -- I tend to play 1 fret per finger, and then extend the first finger down 1 fret and the pinky up one fret, if necessary. It helps to keep the thumb opposite the middle finger (or between the middle and ring fingers). When you extend up or down, the thumb stays put, as a reference point.

Try to keep your wrist as straight as possible, as often as possible. Ideally, the back of your hand should be parallel to your wrist and forearm. This won't always be possible (bar chords, large stretches, etc), but try to return to a straight wrist as soon as possible.

Once you get up the neck, mandolin-like fingerings become possible -- clearly, where it becomes feasible will depend on your hand size. I find that I have more strength and agility using cello-like fingerings (I have relatively small hands), so I only switch to the mandolin-style fingerings if I really need the extra reach.

Often, it is possible to avoid long shifts by "crawling" up and down the finger board (if/where the music makes it possible). The idea is to alternate between a hand position where the index and pinky are 1 or 2 frets apart, with a position where they are closer to your maximum reach (not necessarily on the same string). So, if you are moving up, you would stretch up to the pinky, and then pivot on the pinky to bring the hand up (if the next note can be played 1 or two frets below the note that the pinky is currently playing). The next note would be fingered by the index finger, and the hand would return to its normal posture (but you've moved up the neck by a coupld of frets). The same idea works in reverse. This would probably make a whole lot more sense with a specific example -- if you are interested, I'll try to find something appropriate, and figure out how best to post it.

**mandognome** · Jul-23-2008, 11:28pm

Thanks all. I meant to chime back and to say hi and that I appreciate the notes.

I think I know what you're talking about for with the "crawling". Thanks for the tip and the wrist being straight too.

I wonder what cello fingerings are like up the neck as opposed to mandolin fingerings. I guess taking violmando's advice and getting a book would be a great way to find out.

Thanks again, all!