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Thread: Right Hand Mandolin Book in the making!

  1. #26

    Default Re: Right Hand Mandolin Book in the making!

    Quote Originally Posted by Jeff Hildreth View Post
    Spiral Bound please. A reference book is useless if conventionally bound and will not lay out flat.

    MEL BAY and authors take note. No spiral binding, deterrent to purchase.
    Yes, that should be a must for music books. Every book I currently use is spiral bound. I have had to take my regular bound books to the UPS store and had them cut off the spines and bind them in plastic spiral combs. It's just too hard to use a book that won't lay flat on my music stand.

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  3. #27
    Innocent Bystander JeffD's Avatar
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    Sep 2006
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    Default Re: Right Hand Mandolin Book in the making!

    I think a chapter on the differences between the "German" and "Italian" traditions as concerns the right hand. Not so much which is better, (its not a competition), but some clarification of the differences in technique and under what circumstances each tradition might provide advantage.
    Indulge responsibly!

    The entire staff

  4. #28

    Default Re: Right Hand Mandolin Book in the making!

    When I first read the title of this thread, I thought they were talking about a book about playing "right-handed", as opposed to playing "left-handed", and figured it was a joke since all instruction books are for right-handed playing.

  5. #29
    Stop the chop!
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    Default Re: Right Hand Mandolin Book in the making!

    Quote Originally Posted by Louise NM View Post
    I see big differences in technique between some of these players. A discussion of the pros and cons of pinky planting (or brushing), heel of the hand on the strings behind the bridge, etc., could be useful.

    One important thing would be to set the terminology straight. I've noted, e.g., that some people think of "brushing" and "planting" on a pick guard as essentially the same - they're opposites. Also it should be clarified that touching the strings behind the bridge is not the same as resting your hand on them. I recall a thread where the TS complained about this technique moving the bridge out of place!

    I think it would be instructive to many peope to read Stangeland's survey of right hand techniques at There are about 17 answers but they fall into two groups. Some players brush across a pick guard, because it's there, others touch the strings behind the bridge - because they're there. In later years I've learned to switch between the two techniques and I've found that there is very little difference between them.

    Some of the musicians contributing to this book may have other views, but, again, I
    think it's important to establish clear and unambiguous terminology.

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