Subject: quick question
Date: Wed, 12 May 2004 10:20:53 -0400

Hello Mickey, I have visited your site quite a few times now and have found it very helpful and interesting- thank you!

Greetings Jason,

Glad to assist...and sorry we couldn't get back to you sooner...it appears that your e-mail was lost in our queue...

I have been a guitar player for some time now and just recently (last week) I bought a Hohner Hma (I believe) A-style mandolin. I have been wanting to learn for a while and am so excited to be picking up a new instrument. I have dedicated a lot of time to it so far and have the major/minor scales down and have the knowledge of the circle of 1/5ths, modes, progressions and so on that have carried over from my musical studies and guitar playing.

This should be quite a bit of help in laying the foundation for mandolin playing...many beginners seem to have the wrong concept, that learning song after song will lay down the foundation...however, the skeletal frame is so much more important before learning song after song and will immensely accelerate the learning pace...

The basic chords and progressions are coming along well, I just need to continue working with it. The thing is this, I am seeing a lot of my guitar playing style coming out in my mandolin playing, as I play through progressions and work on melodies. What can I do to improve actual mandolin techniques?

I believe you're on the right track with the music theory...which of course remains static no matter what instrument you're playing. And, yes, you must also consider the characteristics of the instrument you're playing...some guitar technique will transfer very well to mandolin...and, of course others don't. The first thing to consider is that the mandolin is tuned in fifths as opposed to fourths as is true on guitar. This makes the mandolin far more melody oriented. And, the characteristics of the mandolin being pitched approximately one octave above guitar make for other considerations...such as where to place the back-up, harmony or lead to contribute to each song being played. There are also other considerations such as what style of music is being played...for instance, bluegrass mandolin has a whole 'nother technique set...in order to gain the chop chord with a bark, the percussive techniques to support a bluegrass band, the drive to ride on top of a banjo or fiddle, and so on...so, a lot of the characteristics that shine through on mandolin are predetermined by the style of music you're pursuing. Therefore, yes, try to emulate other mandolinists within the genre of music you're pursuing by listening at every chance you get...

I am working heavily on speeding my right hand up and gaining familiarity with tremolo technique which I understand Is important. Is there anything else I should shift my focus towards in order to take my playing to an educated and well rounded level?

As suggested above, listen to other well-established mandolinists...be sure to check out our video samplers linked from below to hear a variety of styles and approaches to the mandolin...we also have a free lessons section where the Tremolo Technique is described and demonstrated thoroughly...

What is the real purpose of the mandolin in a basic arrangement? If you could get back to me that would be great. I appreciate the help. Jason

It depends on the style of music being played...it makes a great percussive back-up instrument, it fills a void in most band settings where a high-pitched string instrument would be missing otherwise, it works well as a soloing instrument since it demands attention of the listener (similar to a fiddle)...and so on...

Hope something here helps, Mickey

Date: Sun, 14 Mar 2004 23:32:48 -0800 (PST)
Subject: Mandolin question

Importance: Normal

Greetings Hank,

Glad to assist:

Hi: I've played various instruments over the years, including guitar and
banjo, and fiddle, too. But when I found a mandolin and tried to play it
(without a teacher), I ran into a major problem: I've never played a
double strung instrument before, and I can't for the life of me figure out
how to pick two strings at once and make them sound like one note. And
when I listen to really good mandolin playing on recordings, I'm just
astounded at the delicate sound that some players achieve.

Is there a secret to playing a double strung instrument?

No, there really isn't...I used to play 12-string guitar and found it to also be relative to playing mandolin...and the down and up strokes of the flatpicking seem to be the same as playing a 6-string...

For example, do players always play both strings, or is there a way to just pick one of the two strings?

I've observed my very own flatpicking approach up close to find that many times the upstroke may only ignite the bottom pair of strings...however, even when this happens, there's a sympathetic harmony attained by the other string vibrating...I believe if you just approach the mandolin with exercises and studies...and start out slowly, you can eventually become comfortable with striking both strings...

Try out some of the following exercises:
http://www.folkofthewood.com/page3.htm

or is it a trade secret & I'm gonna hafta break down and
hire someone to teach me how to do it?

I highly recommend finding a qualified local instructor...you'll eliminate a lot of confusion when first starting out...and, you will learn a proper foundation before diving into bad habits from the start...of which may impede both your learning progress and your playing abilities...

Mickey

Hank Mooney

Date: Wed, 25 Feb 2004 13:58:43 -0500
Subject: want to play mandolin

I would like to learn to play the mandolin. I dream of playing it in bluegrass, klezmer, mariachi and classical music, so could start from any of those vantage points. I live in New Haven CT. I can self-teach if I have to but would love a teacher - I have some musical background though not in stings (bowed or plucked). I'm 45.

Thanks for any assistance,
Deborah Isenstadt

Greetings Deborah,

Once you get started on mandolin, I believe you will find it so engaging that you'll not put it down...at least this is what happened with me...

Yes, it's best to have a personal instructor...however, the next best thing is video instruction...a video that covers learning to play through a methodical approach: proper positioning, medium utilized, and studies and exercises being the focus...

If you're still educating yourself on which mandolin to purchase, I'd like to suggest that you check out our extensive FAQ database at:
http://www.folkofthewood.com/page142.htm

Be sure to check out our mandolin online lessons too...

Be sure to get back with me if you have further questions...Mickey

Date: Thu, 10 Jan 2002 02:56:53 EST
Subject: Mandolin "CHOP" (what does it mean?)

Hi,

I am in receipt of the Mid-Missouri M-4 Mandolin that I ordered from you and am very pleaed with it in all respects. I do have a question which I hope someone in your establishment can answer. Please dont laugh.

I have been studying music and playing both Mandolin and Guitar (VClassical Style) for over 50 years. Prior to purchacing the M-4 I researched and read specifications on numerous models of many brands of Mandolins. The term "CHOP" keeps popping up in describing the performance of these instrulments. None of my music teachers, musician friends of instrument dealers know what it means. I cannot find the term in any music theory books. Can you please enlighten me?

Thank you, John Pinto

Greetings John,

Glad to help...many have been confused on the term "chop" so don't feel alone.

"Chop" is normally used within a bluegrass context. Mandolin serves as the percussion instrument within a bluegrass setting. If you'll listen closely as a traditional bluegrass band plays, and the mando is in the process of backing up, you'll notice an upbeat (that usually falls on the 2nd and 4th beats) which the mando is producing. This is referred to by many mandolinists as the "Bluegrass Chop". It's the rhythmic center established by the mandolinist in the back-up mode. Now, the "Chop" is also referred to by many of those shopping around for a new mandolin. This becomes one of the criterion for determining if the mandolin will have the punch necessary to serve as a sufficient back-up instrument.

How a "Chop" is created:
A "Chop" is created by playing a closed position chord such as the 4-finger "G" chord which starts on the 2nd fret with the first finger on the "A" string. It can be any chord that doesn't allow any open strings to ring.

After placing your left-hand in position, you'll then hit all strings with your flatpick with a down-stroke. Upon strumming down with one stroke, you'll then lift your fretting hand just slightly so that all strings deaden at once. Upon doing this, you've completed one "Chop"...in 4/4 rhythm, you'll want to only strum down on the 2 and 4 beats...this would be the classic "Bluegrass Chop" in rhythmic sequence.

What does a "Chop" sound like:
After deadening the strings, you'll hear a punch similar to a snare drum...there will be a very slight reverberation emitting from your mando's soundboard that gives the "Chop" its very own character. Most all mandos have dissimilar reactions to "Chops", and this is why it becomes a criteria when choosing a mando for purchase (especially by Bluegrassers).

Now, when it comes to flat-style mandos, such as your Mid-Missouri, a "Chop" is not an issue since these mandos were designed specifically for other styles of music such as Celtic and old-time fiddle tunes where the "Chop" is not critical to the music's content.

A "Chop" can apply to other styles of music such as Jazz and Ragtime...even so, it's almost always used in reference to Bluegrass settings.

Let me know if you have any further questions regarding the mando "Chop".

Mickey

Date: Wed, 17 Oct 2001 00:13:42 -0600
Subject: Re: Boots! Black Beauties! & Mando Technique

Working hard on the mando. I know it does not happen overnight, but my heart is in it. 

Your friend, Greg Rowles at the Carolina Opry Myrtle Beach

Hi Greg,

On the mandolin: I've found, with both students and myself, the fastest way to learn, and the quickest way to gain proficiency, is not to concentrate on songs as much as scalar and chordal exercises. I'm currently putting together a book on mando that covers nothing but technique builders...hopefully, for both my benefit and the benefit of other aspiring mandolinists. The book will be in your box upon its completion...additionally, do you have a copy of my Crosspicking Mando book? If not, I'll send you out a copy. The crosspicking book contains many exercises that will assist you in advancing technique. Most mando books are songbooks as opposed to method books. Although songs are fun to learn and can contribute to technique, methodology is far more critical when wanting to learn how to develop your own arrangements and effectively play within any environment. Songbooks are also far easier to tackle once you've laid the foundation with a solid method book. I hope to finish it soon...please stay tuned (so to speak)...

Your bud and avid fan (I love that Mayberry tune!),

Mickey

Subject: Mandolin Methodologies
From: "Eric Blankenship"
Date: Thu, 12 Jul 2001 14:36:46 -0400

Here's my thoughts though. I am wondering if you could recommend a website or book that would help me with
technique. I know I have bad habits in my guitar playing and I'm trying to
avoid that as much as possible with the mandolin. I want to learn it as
properly as I can initially. Any thoughts or recommendations would be
greatly appreciated. I picked up the crosspicking book, and it looks
great, but I'm more thinking of mechanic technique. Holding the pick,
wrist movement, left hand technique, postions. One last question. I've
heard all sorts of stories about what the *best* pick is. What's your
opinion? Standard guitar pick, rounded guitar pick, round side of a
standard guitar pick, medium, thick?

Thanks for all your help.

Sincerely-

Eric Blankenship

PS- I'm going on a cross country trip in a few weeks. Where is Ruidoso
located? I wouldn't mind popping in and meeting all of you. You've been
very helpful thus far, and I just want to say thanks.

Greetings Eric,


2. I am wondering if you could recommend a website or book that would help me with technique?

The exemplary website for mandolin technique is "Mandolin Cafe".

There are quite a few good mando books on the market. Be aware, there are two types, Songbooks and Methodology books. One teaches how to play songs note for note the other develops technique. My recommendation, for all beginners, is to find a methodology book that will assist you in developing technique first and foremost. Then, delve into the songbooks...since, by then, after developing solid technique, you'll find it far less frustrating to learn songs.

There are very few methodology books on the market. Most are songbooks.
A. Some of Jethro Burns books do teach exercises for technique building.
B. My "Crosspicking Mandolin Technique" (which you already made mention that you have) book does cover exercises and technique builders but is somewhat advanced in most respects.
C. All good scale and chord books would be considered methodology material.
D. For Websites: be sure to check our Mandolin Cafe www.mandolincafe.com There's many lessons offered throughout this site...bound to find some good technique builders.

3. Holding the pick, wrist movement, left hand technique, postions.

I'm hoping to finish up an instructional video that is solely a mando technique video covering all of the above points. There's nothing that I know on the market that currently covers all facets of playing a mandolin...especially, when building your first foundation for playing while eliminating all bad habits beforehand.

4. I've heard all sorts of stories about what the *best* pick is. What's your opinion? Standard guitar pick, rounded guitar pick, round side of a standard guitar pick, medium, thick?

This is subjective to the individual player's taste. Well, when first starting out on mandolin, it's very difficult to decide on a perfect pick...the problem being that you haven't played long enough to make a valid decision. There are many ways to look at "how to choose a pick?"...for instance, the style of music may dictate what size and thickness of pick to choose...many jazz players prefer the tiny teardrop pick (I can't even hold on to one myself)...If you're read my chapter in "Mandolin Crosspicking Technique" book, you'll find some points of interest such as how the thickness of a pick affects tone. A thin pick creates somewhat of an undesirable slapping noise. A thick pick will create more of a fat sound which usually has more of a thud. I've found a medium thickness offers an optimal tonal quality (no slapping sounds and no thuds).

Hope the above helps in some way...Mickey

Date: Wed, 21 Mar 2001 03:14:53 -0600

Glad to assist:
On "Fire on the Mountain", there's a modulation from the A part to the B part. A modulation means that the keys change in the middle of the song. I know you haven't asked specifically about this, but it does apply since chord voicing is critical to playing both parts with a smooth transition.

When we discuss chord voicing, we're really discussing the importance of chordal inversions on your mandolin neck. Remember, your mandolin only has 4 different notes that can be played at one time. With those four notes, you'll want to consider the value of playing the tonic note with the 3rd and 5th scales of a major chord. How this relates to "Fire on the Mountain" is critical to the tonal transitions you're asking about. When changing from one chord to another on guitar, you have the full range of tonal value with the 6 strings which afford playing a full chord...again, on the mandolin, your choice of notes (chordal inversion) will be critical to leading the ear into the next bar...hope this is understandable...now, with the chords you've laid out on this email, you have all 3 main notes of the major chord: 1st (tonic), 3rd and 5th...this is a good choice to establish when playing by yourself...although, if you're playing with another guitarist, or a recording, then the other instruments will establish all three notes of a major chord allowing the mandolin player to utilize just about any other experimental chordal inversion.

A chord for solo chording includes: A C# E
B chord for solo chording includes: B D# F#

If one of the notes above would be missing from the chord, while playing by yourself, it will sound like an incomplete chord...

I'm not sure where you get the B chord in your version of Fire on the Mountain...here's the standard progression for Fire on the Mountain in the key of A:
Part A: "A" for three and a half bars "E" for one half bar "A" for half bar
Part B: "D" for three and a half bars "A" for one half bar "D" for half bar
And then there's a turnaround before entering back into Part A:
Transition back to Part A: "A" for one bar "E" for a half bar and "A" for a half bar

Here are some great beginner to advanced mandolin books/videos that we currently have in stock:
Mel Bay's Easiest Mandolin Book 3.95 teaches you to read basic standard notation
Fun With The Mandolin 4.95 a very basic book that assists with rhythm
Easy Mandolin Solos w/Audio CD 9.95 a great songbook that will teach basic mando tunes
The Complete Jethro Burns 22.95 a method book for both technique and songs
Mandolin Crosspicking Technique 14.95 a technique builder written in tablature
You Can Teach Yrslf Mandolin w/Audio CD an all-around book on playing mandolin

Let me know how I might assist further...Peace, Mickey Cochran

Date: Thu, 1 Mar 2001 15:19:58 -0600


And, if you have time, I have a playing question. I am trying to learn how
to chop a chord and don't know how much I should relax the fingers on my
fret hand. If I just relax a little and the strings are still touching the
frets, I get a buzz. If I relax them to the point the strings come off the
frets, the chop is not crisp. How much should I relax my fingers, should
the string come up off the frets or not? What is the correct technique to
chop a chord?

Thank you in advance for your help.

Sincerely
tom boelens


Greetings again Tom,

In answer to playing a good chop:

When I play a bluegrass chop, I hit the full chord with my right hand and directly afterwards, I lift my fingers slightly so that the sound deadens. There are variations of this and it truly depends on the feel of the song. Another consideration is that a chop in bluegrass normally falls on the second and fourth beats...the first and third beats are completely deadened.

To do this, count or tap your foot in an even series of four beats repeatedly. In the process, trying strumming your mandolin on all four beats (one strum per beat)...after becoming comfortable, try eliminating the first and third beats and only strumming on the second and fourth. After becoming comfortable with this process, then add your chop by deadening the strings after each second and fourth strum. There you have it, the standard bluegrass chop with rhythm.

Keep on pickin' Mickey

Date: Mon, 29 Jan 2001 02:31:31 -0600

Hello, my name is Nathaniel Collins, 19yrs old and I'm from a small place known
as Harts, West Virginia. I have just started playing the Mandolin and I am
truely inspired your playing. I listened to the sound clips on your site, by
the way which is great, and I concluded that I would love to play just as great
as you do, hats off to you. You're a great musician. I would like to know what
has helped to come as far as you have with the Mandolin? Also, I love the F-
style Mandolin, primarily because I grew up listening to Bill Monroe, Ricky
Scaggs, and Doyle Lawson. They all have a differnt style but great in their own
way. Currently I have, what I beleive to be, a A-stlye Mandolin, taterbug. The
name of it is a Flinthill. I am looking around to see what kind of deals there
are on different F-styles. I can't afford much, you know, that college thing,
it drains all your money, but the education comes first. I have been taking
lessons from a man named Al White here at the College, Berea College, Berea,
Kentucky. I have had my Mandolin for about three years, and just now starting
to play songs. Al says I am a quick learner, which is true because I already
know what the song is suppose to sound like, just got to know where to put my
fingers and pick the strings. Finally, after all this blibber-blabber, do you
have any advice for me on playing the Mandolin? Take care, God Bless, and keep
up the excellent work.

Nathaniel Collins
CPO 351
Berea, KY 40404
nathaniel_collins@berea.edu

Greetings Nathaniel,

Thanks so much for the positive comments. I'd be glad to assist you in your learning efforts in any way I can.

First and foremost, you have an instructor which is a great start.

Be aware, one of the most important aspects of learning any stringed instrument is to start off with good form and playing posture (a bad habit is next to impossible to unlearn).
1. Be sure to play with your thumb, of your fretting hand, behind the neck (not on top of the neck). Otherwise, you'll be limiting your stretch. It's also difficult to eliminate this habit once you're comfortable with resting the thumb on top of the neck.

2. Be sure to pick with a loose wrist with your right hand and avoid resting the palm on the bridge. This will minimize your speed, and again, be a difficult habit to break in the long run.

I'm sure your teacher has already reinforced the above good habits...these are the two main aspects of good playing posture that I recommend everyone to pay special attention to.

You may email me any specific questions you may come up with during your learning efforts. I'd be glad to help...Mickey

Date: Tue, 31 Oct 2000 00:40:32 -0600

Hi Mickey,

What an incredulous web site. Where else in the world could a person find a site where he could hear and see the instruments of choice (mandolin being mine) without having to drive many, many miles to to play only a small choice of instruments.
Sure enjoyed your mandolin playing and styling, you make the "so called" entry level mandolins sound like the cherished vintage instruments. I always heard that the musician had lots to do with the sound of an instrument. Now I believe it!
Mickey would you mind telling me the type and thickness of the flat picks you use for your mandolin playing? I am always searching for the ideal pick. I also do a crude form of crosspicking that I picked up from Jesse Mc Reynolds many years ago.

Best wishes and keep up the good work.

P. Harris
Shelbyville IN


Hello Paul,

Thanks so much for the kind words.

I use the dunlop Tortex extra large triangles .73 yellow in color...these give me the best compromise between light and thick. If a pick is too thick, you get a chunkier, thuddier tone...if a pick is too light, you get too much slap and clicking on the transients. The "transient" sound is any extraneous noise outside of the emitted tone of the string. The .73 retains the brightness of a light pick, without any clicking, and the full volume of a thick pick without the thud.

Let me know if you have any further questions or if I can assist you with anything else...
Mickey Cochran