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Type: Posts; User: ralph johansson

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  1. Re: Book/s on how to improvise on Old Time tunes???

    Some tunes call for your own variations, e.g., Sally Goodin, Old Joe Clark, and Leather Britches (just check a few transcriptions on the internet). Others are so full of detail that I at least play...
  2. Re: Book/s on how to improvise on Old Time tunes???

    As the old song goes: " ... must master it by practice, 'cause it ain't wrote out in a book". In other words, listen, transcribe, analyze, explore and experiment. Mark O'Connor started out in Texas...
  3. Re: Hand position, and proper way to wear a strap?

    I strongly recommend Marshall's d'Addario video.

    Mandolins analogous to violins? How do you use yor chin and shoulder when playing the mandolin?

    My approach to the mandolin is exactly the same...
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    Re: Why keys of B and B flat?

    As I've indicated earlier the choice of keys for instrumental pieces often is idiomatic. Cheyenne is in Bb because of the g minor bridge (using the lowest note on the fidle or mando). New Camptown...
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    Re: Why keys of B and B flat?

    Such remarks make me wonder how people go about learning an instrument. My first instrument is the guitar, which I started learning in 1957. Systematically, key by key, in first position, then in...
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    Re: Why keys of B and B flat?

    Train 45 was not "written" in this or that key. It belongs to a family of folk songs including Reuben, Ruby, and 500 miles. The oldest version that I know of was recorded by Grayson & Whitter in the...
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    Re: Lonesome Moonlight Waltz

    Carlini's arrangement reminds me of a quote by Miles Davis from the recording of Sketches of Spain: "If I play bebop on this song I'll sound like a hip cornball".
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    Re: Lonesome Moonlight Waltz

    I play it mainly in second position, inserting open notes whenever they're of any help. E.g. the first notes: d-f-d(c)-a are all played on the a course. Sometimes I use tremoloed double stops,...
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    Re: Left hand position

    What I really like is his natural and logical explanation of diatonic fingering. But I question the idea of bringing the mandolin to the hand and having the left arm parallel to the floor.
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    Re: Left hand position

    "thumb position", "moving the thumb", "don't use the classical guitar position" "grip" ??? Again: the thumb lands where it lands. The classical guitar position is on the back of the neck of a guitar....
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    Re: Left hand position

    I always play seated and never use a strap. The last two pictures are very instructive.
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    Re: Position playing or shifting?

    Really?




    If the open notes somehow stand out would it not be best to avoid them altogether (as I was fortunately advised to do as a beginner)? Open notes are harder to control, you can’t...
  13. Re: What's Your Favorite Instrumental-Mandolin Album?

    Mark O'Connor: 30 Year Retrospective, Chris Thile on mandolin.
    Grant Gordy, untitled album, Dominick Leslie on mando.
    Hamilton de Holanda: o Baile do Almeidinha
    Mike Marshall (mando and guit):...
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    Re: Left hand position

    With proper technique, as sketched above, you shouldn't have to think about that. Using the two points on the floor side my mando will sit firmly in place leaving my fretting hand free to roam the...
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    Re: Left hand position

    The simple answer is: you don't hold the mandolin. The role of the left hand is to stop the strings, not support the neck.

    In other words, you first secure the mandolin in place, using strap,...
  16. Re: Accompanying a guitarists who tunes down

    The correct method to get along with singers is to let them decide the optimal key for expression. Even a half step up or down may mean a difference, especially if the song has a large range. It’s...
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    Re: Improvising

    QWERTY, of course, and hade -> had
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    Re: Improvising

    Seems you’re commenting on things i’ve never said.

    Let’s try again. An improvised performance is a composition to be sure— it is composed of everything that goes into it. That’s trivially true...
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    Re: Improvising

    What I’m getting at is this bovine manure about “speed of composition”.

    #50: “Working on an "alternate melody" in the practice room sets one up with a better chance at producing something as...
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    Re: Improvising

    I simply do not agree with this idea of “composition speed”.

    Improvisation is an urge, a desire, you discover in yourself. Then the hard work begins, training your ear, expanding your vocabulary...
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    Re: Improvising

    "Eyetrained"? I've never heard of classical training that doesn't involve theory and ear training (I'd like to hear from August Watters on this). How can you possibly become a good reader if you...
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    Re: Improvising

    Byt my point is that I made these observations because of my lack of experience -- I was lost.
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    Re: Improvising

    I don't think he offers any insights at all. Saying "it's all composition" is not helpful in explaining the possiblities and deeper motives of improvisation. The analogy with the age of a painting is...
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    Re: Improvising

    Of ocurse, over the years I've stored a lot of ideas on both my instruments, but I don't think of them as licks, but as devices, eg., various approaches to chords (playing through them or around...
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    Re: Transposing tunes composed for horns

    Capoing seems like very curcuitous route, capo first, then remove it and start all over? I've never used a capo on mandolin, and only very rarely on guitar, in harmonically limited genres, like...
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