What a very nice method you have built to understand double stops. So far I find it a very fresh look at the subject. Thanks so much.
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Thank you! I downloaded it so's I can study it later, but it looks like it's just what the doctor ordered!
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This is my first posting on Mandolincafe although I've been visiting the site for about a year. I just wanted to say thank you for such a creative and user-friendly articulation of double stops. Your visual metaphors really work for me and this really fills the gaps in my understanding of double stops. Thank you thank you thank you!
This is a great resource... but did you have to use ComicSans? Ugh! ;D
I missed this before.
What a great job, PickL, and generously shared
I'm sure this is going to help a lot of people.
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To each his own, Uggy. You can download the Word documents (please don't tell me you have a Mac) and put it in whatever font you prefer. I'm glad you like it, otherwise.This is a great resource... but did you have to use ComicSans? Ugh! ;D
I'm gonna try and get more written up after Kaufman mando camp, but if you want to do more with the double stops, pay particular attention to where the 1s, 3s, and 5s fall in each stop. For example, flat 3 to natural 3 in a two-spacer stop is lots of fun and very useful. Try sliding from the 3b to the 3 and then catching the 1 right after. Sounds cool. With Uptent, try 5 to flat 5 and vice versa. Make any double stop with a 1 note a dom7th double stop by taking the 1 note down two frets. Tiny, slid (is that a verb?) one fret toward the nut and then another fret toward the nut, also makes a nice major to dom7th transition.
Notice also that the 1/5 stops sound good with the relative minor, since there's no 3 note to conflict. And, if you start associating, for example, A major's two-spacer with a tab of 4 on the A string and 7 on the D string, and B's two-spacer with 6 and 9, you automatically go to the correct spot on the fretboard without a lot of counting. I don't much like tab anyway, but I really disliked reading tab that had doublestops.
I'm not trying to make out like I'm an expert. I most certainly am not.
Last edited by pickloser; Jun-02-2009 at 1:04pm.
It was interesting to read your double stop notes, PickL. Very nice work. And for your information, it opened easy as pie on my mac.
Yesterday, I received, in the mail from Amazon.com, the first mandolin technique book I've ever bought: a Mel Bay publication about cross picking. I think what you are writing about here, is every bit as valuable as that book, and just as well laid out. Actually the two themes of cross picking and double stops, would make ideal companions for any serious mando player looking for new ideas. After a cursory reading of the pages you posted, I also think that your language flows better than in the cross picking book. I say that as the author of several published books.
I do encourage you keep writing about double stops, and maybe include a bit more info about odd double stops in odd modes, (for example, mixolydian double stops, and maybe even something about moving double stops for us chromatic scale players). When you get it just right, and complete in your own mind, you might even consider submitting it to Mel Bay. It is that good.
Can you let folks know what you think of the cross-picking book, and tell me whether it comes with an audio CD? Thanks.
Just wanted to say thanks to pickloser for creating and posting the doublestop primer! I started reading the material last night, and although I haven't made it all the way to the end, I already know that the information has "stuck".
A very creative approach that is very helpful for me.
Kudos to both LesPaul and Pickloser for helping us poor beginners out!
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Excellent thread. Thank you for the info and the PDF
I am using it for the fiddle also. Thanks alot for makeing it in bite size peices thats easy to digest and apply.
Here's a 'practice sheet' that i posted in a previous thread. Nothing like having more than one
Weber F-5 'Fern'.
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Thanks Ivan. I had previously worked out personalized 4 x 6 charts for each key w/ diff. chord forms & sequences, favorite slides & double stops, tho' I used the number notation - G is 7523. When someone in a jam called for a seldom-used key I could flick to that card & remind myself of fingerings. With your chord charts I printed them out & superimposed some alt. fingerings in different colored pencil - a visual impression rather than the longer process of "thinking it through." A good "aha" moment for me.
You're right - another aid can't hurt. I can't believe the thick stacks of material I've printed off this site & keep by subject folders under my coffee table (bachelor giveaway!)
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It's going to take me some time to absorb all of this as I am just starting to read tab and play more bluegrass songs as the guy who helped me get started done a lot of gospel (Most of which i already knew) which made it easy to play them. Knew how the song sounded but had no idea how to play them till I found Jack Tuttle's two books full of bluegrass and tabs. Sure is a lot to learn how to do, but I am having a time of my life learning all of this music. Wish I started at a younger age but I am still learning at age 59 while working 63-70 hrs a week driving a big truck(semi) and getting some practice time while waiting to get unloaded... firstname.lastname@example.org
PickL, the 2 members who PDFd her work, LesPaul, and Ivan: thanks so much for your contributions. And to dhut - thanks for resurrecting this thread. I missed it the first time through.
Thanks to all-----what an amazing contribution, esp for us getting started on this instrument.
The quality and the amount of work that went into this is amazing! For a newer player like myself, this is really helpful.
What is also amazing is you started this thread and other added to it and made the whole thing functional regardless of the computer hardware and geek skills.hardware
Seriously, my thanks go to Pickloser, who revolutionized my way of remembering and using double stops on the fly. Her clever naming system just stuck in my head immediately and I could see the patterns on the fingerboard like I never could before going through her explanations. This was several years ago now, and I still find myself thinking of "moving from a 2 spacer to a stretchy" or just playing a lead riff out of a "stretchy" position. "Downtents" are a special group to themselves in my mind. They took a while to "see" and I still find myself making new discoveries about these patterns.
Thanks again Pickloser!
“Sharps/Flats” ≠ “Accidentals”