Backup/rythm tremolo

[Mutiny]

Hey all, they is my first post on the board.
I've been playing guitar for a few years now and just a couple of months ago started teaching myself mandolin.
I was wondering what some methods were to compose backup style tremelo to chord changes. (for when my banjo player takes the lead).
I've tried just playing the root notes of the chords but that sounds kind of bland and crappy.
Thanks,
-Ben

[Bruce Evans]

Double stops!

Get "Fretboard Roadmaps for Mandolin." Available from Elderly Instruments.

www.elderly.com

[duuuude]

Yep, like he says. Try trem'ing just two strings using partial chords like the 1st & 3rd of each chord. I get good use out of the D & A strings for simple tunes, and you can keep your hand naturally in a movable position for the full chords, scales or whatever if ya need 'em. Fretboard Roadmaps is a good resource and helped me learn my way around quite a bit, but there's nuthin' like practice, practice, practice.
http://www.mandolincafe.net/iB_html/non-cgi/emoticons/cool.gif

[Mutiny]

Cool. up till now I had thought that double stops were some kind of pause after a note (like a dotted note in a sheet music) http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif
I read the articles about double stops in the techniques section of co-mando.com and they were pretty helpfull.
Are there any other resources like that on the web?
I'll try and pickup that book as soon as I can but $$ are kinda short right now.
thanks.

[duuuude]

Search in Google, I can't remember just where but I found a couple of places that went into double-stops in depth, think they were guitar sites. Look for some good movable chord shapes, then play around & find your scale notes within & around the shape, find your pentatonics, then your partial chords and double-stops that work.

My favorite hand-shape is 4-5-2-3 (gdae) for a G, which can be moved up & down the neck as well as up a course for D by adding the 2nd fret (B) on the G string, 2-4-5-2, then up & down the neck from there as well. Shoot, you can play a whole I-IV-V progression just by moving the shape up & down courses. Playing scales & double-stops out of this shape come kinda naturally for me, they may for you too. The standard bluegrass G and D just don't always give me the color I'm going for.
http://www.mandolincafe.net/iB_html/non-cgi/emoticons/cool.gif

[onlyagibsonisgoodenuff]

I've always felt that when the banjo takes the lead, at least in bluegrass, the mando should stay out of the way and just play chop chords.

[Mutiny]

Chop chords are cool and all but sometimes I want more than that. Especialy since we're playing more of a punk/irish/bluegrass crossover than strictly traditional.
Think the pogues. but faster and louder. and more complicated mellodies.
later,
-Ben

[Michael H Geimer]

I'm gonna side with onlyagibson. My first thought after reading the original post was, "Tremolo? Behind a banjo break?"

To my thinking, your banjo player is going to want some solid grounded rhythm behind him when he takes a lead. Tremolo rarely helps hold down the groove, and could possibly be quite distracting as you'd be playing an awful lot of notes right in the same pitch range as the soloist ... and if he decides to 'go off', you no longer know if your double-stops will harmonize or clash with the improv ... and if they do clash, it's the soloist that takes the blame in the ears of the audience. Not cool, IMO.

Backing up a soloist, is like belaying a climber. Your job is to hold on tight, and pay close attention to the person who has the lead. It is not an appropriate time to be interesting, or to let your thoughts wander away in boredom. It is a very important job, though it might seem dull and uninteresting.

Just my ¢2 though ... it's your band, right? Ultimately you have to do what you think sounds best.

[Mutiny]

I see what you mean. and its probably right.
I'm just looking for a way to make the music sound faster and harder. (alot of you probably would hate that style)
Lets put it this way, Until a year ago I really only listened to punk. Since then I have grown a love for traditional irish music. What I want to do is combine the two and see what happens. I really am just trying different ideas and seeing what works.
-Ben

[dixiecreek]

Lets put it this way, Until a year ago I really only listened to punk. Since then I have grown a love for traditional irish music. What I want to do is combine the two and see what happens.
ever heard of Flogging Molly? I'm not really into their music, but that's pretty much what they are, a punk Irish band. you'd probably dig 'em.

[Billy Mack]

Maybe a counter rhythm but still a chop.

On Belay, On Belay...

[Mutiny]

Flogging molly is pretty good.
also #### like: blood or whiskey, the mahones, Warblefly, NECK and a bunch more.
Of course the pogues will allways rule all. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/mandosmiley.gif

[Michael H Geimer]

Mutiny,
I think I'm also making the assumption that you don't have a drummer, when in fact you probably do have one.

Without a drummer, the classic 2 and 4 chop will definately propel the song, just the same way a solid snare drum crack can really add drive. But, if you already have a drummer emphasizing those beats, well then you'd just be lost behind the backbeat, so why bother.

I was just messing around trying to get a 'punk' sound going. I got a driving rhythm going with double stops on the G and D strings, and it sure sounds pretty 'mean'.

Go explore, and please let us know what works.

- Benignus

[Mutiny]

Yep weve got a drummer.
I'm gonna have to wait until our next practice so I can see exactly what works and what doesnt. Right now it seems like either double stops played quickly or tremolo'd will be the way to go.
Thanks everyone for all the comments and help.
-Ben