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Here's a chart I made for my students that has the whole ball of wax on one page.

A careful reading of MTR's November 19, 1904, Vol. 39, No. 21 shows just how tight the race was with Bohmann given a slight edge over Lyon & Healy. see attached

Ted,

Thank you again and again for all you've done for the mandolin, at JazzMando.com, here at the Cafe, in Getting Into Jazz Mandolin, FFcP, instrument,pick,and string design, support of...

Are you having fun?

If you are, accept the shortcomings and have more fun.

If you are not, make the necessary moves to have more fun.

This is at the heart of our nation; Embrace diversity. To do it with your mandolin, golden.

I hear "Boy is this dumb".

Along with Yank Rachell ("Blues, Rags, & Stomps" #2 & 3), Howard Armstrong (1909-2003) was probably the most popular and influential of old blues-mandolin players, in part because both lived long...

It is as simple as 40 years Vs 6 years. No it will never be the same. That doesn't mean it isn't worth it.

Every joke has an intended and therefore limited audience. Widening that circle by explaining the joke kills both ;)

The shoulder belt of a ladies' handbag makes a decent strap.

Saliva makes a...

It's not genes, it's practice.

I like all of us was hoping I would win, but...... a 16 year old GREAT. Nothing better than our youth playing acoustic instruments and carrying the tradition on. CONGRATULATIONS KYLE.

The Mugwumps Index of American Fretted Instrument Makers lists "Beltone" as a trademark of the early 20th century New York distributors Perlberg & Halpin. Evidently they sold instruments from a...

This months winner is There Will Never Be Another You.

Version 1 is swing, 150 beats per minute. Play the head, 3 improvised choruses and the head. At the end play measures 29 and 30 3 times,...

Just now actually played my suggestion a couple times. Meh. 334x sounds better, let the bass player supply the root.

But hey, there's other options, as seen above!

Right, I see. I got stuck thinking the maj7 should be at the top.

here is what I might use. either of the Db7s


Db7.

G. 4
D. 3
A. 4
E. x or 1

The 2 on the E string is actually a G flat. The major seventh F is over on D string fret 3.

3342 (low to high) would be Bb F Db Gb which is GbM7 I think? That seems playable. Depends where you're coming from/going to, of course.

the Gbmaj7 appears in a short string of ii-V I's....in Bb, then Ab, then Gb. Remembering that it's ok to express the root(I) chord as major, major 7th, 6th, or 9th, you might try your voicings for...

That suggestion is one of my go-to moves, especially for the I - IV with dominant 7ths on both, like D7 to G7, which would be 5-4-5-(x) to 4-3-5-(x).

I would usually add the bass note on my C...

For a full monty Db7 --> GbMaj7: 4-3-4-4 --> 3-3-4-4 (going up from the G string); or just use the bottom 3 strings in those fingerings & let somebody else fill in the other notes... I think this...

Find the moving tones and use 3 note or 2 note chords to facilitate. To me, the movement is more important than the full chords.

I don’t think you can easily. If the 3 is the bass note, you can’t get the 5 or maj 7 on the D string. If the 5 is in the bass, then you have 688 as the chord, 5,3,7. But if you used the 3 high...

If you want all four notes, you could try (low to high) one of these:

6411
3441

But in a band context you often don't need all the notes. Hope this helps.

I use 5577 - low to high, C G E B.

This is what I play for a C maj7 but it's also an Am9 with no root.