Show-off! Gee, just rain on my parade, why don't you?
(I'm just envious of you big-handed folks, I guess. Get tired of reading "Don't put your thumb on the back of the neck like a guitar player...." Well, if my thumb's too danged short to stick over the top of the neck when playing in certain positions, where the heck do you think I'm going to put it, huh, smartypants?)
Just funnin' with you, Bertram, nothing personal - please don't mind me a bit. Actually, I am in quite a happy mood today!
bratsche
"There are two refuges from the miseries of life: music and cats." - Albert Schweitzer
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[QUOTE=Mark Gunter;1615676]Hi Sherry. If you mean, learning three new tunes from scratch every week, with only 1 hour practice time each day, for me that would be too ambitious. Maybe not so for you, and variety is the spice of life.
(Sorry about the messed up quote.)
Yes, Mark, I do mean 3 new tunes each week. Keep in mind I'm not memorizing anything - just reading standard notation and playing the chords when other musicians take a break. Being a newbie, I can't just pick up a piece of music and play it flawlessly, and some chords are a struggle, so I play each piece 2 or 3 times as I practice each day. I find as I'm getting more comfortable performing at the jam sessions, my playing is getting better. I should mention these are not difficult tunes. They're primarily from the Mel Bay Parking Lot Picker's Songbook. I'd love to be able to add double stops here and there to some of these tunes. If Henry will post a PDF for me (hint, hint), I might show you what I've done with Rocky Top - to see what you guys think about the double stops I've added.
I would post your pdf (if I had it) but I'm gonna make you do it.
When you start your "Quick Reply" to the thread, click the button, down at the lower right that says "Go Advanced".
Good. Now scroll down to the "Your Message" window and type whatever text you want.
Now click the button up on the top row of buttons (in the Your Message window) that looks like a paper clip (just right of the smiley face button).
A dialog window opens. Near the top of the window, on the right side is a button "Add Files". Click it. Now a little bitty window opens with a button called "browse".
Click the "browse" button and navigate to whereever you have your pdf on your hard drive. Click the file, then the "Open" button. Now the little bitty window will have your file that you selected listed. Click the "upload" button. That sends your file to the mandolincafe server. It will appear in your list of uploaded files in the upper half of the dialog window. It will also appear int the list of attachments currently selected (in the lower half of the dialog window).
Almost done.
Move that dialog window if necessary and go back to the "Your Message" window and make sure your cursor is where you want the attachment thumbnail to appear in your message. Now go back to the attachment dialog window and click the button "Insert Inline (1)".
test pdf here (Not Sherryc's pdf)
Now click the Done button in the dialog window and it will go away, leaving you in the Your Message window. You will have a piece of html text code pasted where your cursor was which will make your attachment thumbhail appear at that point in your text.
Finish whatever text you want. Then go down to just below the Your Message window and click the Preview Post button. If the post looks OK (except for the fact that pdf thumbnails are all totally black rectangles on my computer and maybe yours too), scroll down past the Your Message window and click the Submit Reply button.
You might want to cut and paste all this into a text file or word document and then print it out. Kind of intricate and arcane, but deep down it all makes sense (if you are a computer nerd like me).
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Just send an email to rob.meldrum@gmail.com with "mandolin setup" in the subject line and he will email you a copy of his ebook for free (free to all mandolincafe members).
My website and blog: honketyhank.com
You're so mean!
OK. I'll try it. ☺
If posting the PDF is a success, this is Rocky Top, with my double stops added. I did this prior to submitting my question to the group; therefore, I may take a whole different approach once I've read through everything I've printed from this thread.
I'm wondering if I may have added too many double stops to this piece. You'll see that everything is played in first position. I don't need any further complication at this point. You'll also see I've diagrammed 2 variations of an F#m chord. Haven't yet figured out the best option.
Any and all constructive comments are appreciated.
Henry, is this the same process for a social group posting or are those different? This was so easy!
Nice job. Is there really meant to be a low D in the A doublestop immediately before the F#m chords?
Phil
“Sharps/Flats” ≠ “Accidentals”
Oops! I'd say those Ds should be Es. Thanks, Phil!
I'm seeing other errors now that I've read some of Henry's PDF. I should have known better. Anyway, thanks for all who supported me in this thread.
Using doublestops extensively will inevitably force you out of first position. Just one example: I play the Missouri Waltz as part of a medley (Tennessee Waltz in F, Missouri in D, Kentucky Waltz in Eb), and I use double stops on bars 1-8 and 17-24, like this:
This passage is certainly best playedon the two inner courses all the way.
Bunny, I printed that PDF also. Before committing too much time to it, check out the Pete Martin video Mark Gunter posted. Pete's 90+ page materials cost $10 but are well worth it.
Ok. In the pics with the red blobs they show the relative positions of notes an octave apart.
It doesn’t matter where you are on the fretboard, there’ll be an octave note that many frets over and up or down.
In the first 2x6 one I show it on the G & D courses, but you could shift it over one or two courses if that’s where the note you’re interested in lies.
Those first three pics give you a framework for finding a note the next octave up or down.
The interesting bit is when you use the last one in conjunction with the octaves.
Lets say you have a note you want to build a double or triple stop around. That would be the ‘root’ in the pattern.
The pattern shown can be shuffled anywhere on the fretboard depending on which note you want to work on.
You’ll always find a 5th next course up and you’ll always find a 3rd on the course lower one fret back.
That gets you a nice tight pattern that puts simple double-stop options under your fingertips.
Now rather than just thinking of the octave notes as being for the ‘root’ note, or note your interested in, you can apply it to the others too. So you’ll find another 3rd 2x6 up from the original one & similarly for the 5th etc. The same goes for the other octave patterns (3x3 & 4x4)
The handy part is you don’t even need to know the note names, just their relationships to the note you want to double-stop or build into a chord. You also don’t need to worry too much about where you are on the fretboard, you can play double-stops or chords anywhere the melody takes you. Or jump the whole lot up an octave to make a solo stand out better, because you always know where to start an octave up.
Once you have the basic relationships for 3rd & 5th lodged, you’ll find the logic can then be expanded to give you 6ths, 4ths or flatted 7ths without too much effort, because they’re just a couple of frets up or back from the 3,5 or octave.
After a bit you’ll be able to build lots of interesting double-stops or chords on the fly, without having to learn loads of individual patterns and names, just by knowing where the notes you need should be relative to wherever you find yourself with the melody. The main thing is to start simply by focussing on that root,3rd & 5th pattern with the octaves; that’s your main building framework.
Last edited by Beanzy; Dec-25-2017 at 2:39am.
Eoin
"Forget that anyone is listening to you and always listen to yourself" - Fryderyk Chopin
You can see some of those octave doublestops in this video.
the world is better off without bad ideas, good ideas are better off without the world
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