About the spacing of Mandolin strings on The Session . Re: About the spacing of Mandolin strings My mandolin has the strings spaced about 2.5 milimeters apart. I had never found this a problem until I played the mandolin of a friend of mine. His strings were a little farther apart, and it was a little easier to play, and I hink it was due to the fact that the strings were farther apart. I can’t imagine playing with strings 5 milimeters apart, though. That seems a bit much. One advantage of having the strings closer together is that it is a little easier to hold two strings with one finger. The most common place I do this is on the second fret of the D and A strings, in songs such as Drowsy Maggie and Morrison’s where there is a lot of rapid changing between E and B. Re: About the spacing of Mandolin strings This was one observation from someone on a discussion in the Mandolin Cafe: "virtually all the top mandolins I measured at IBMA had .060" between the pairs, exceptions being the Sam Bush and a few that weren’t as consistent as others.

I measured 5 Gilchrists and they were all _exactly_ .060" between pairs. And FWIW, I pulled the equal distance idea off a Martin guitar that played exceptionally well for me." .06" is 1.52mm for you metric chalanged Americans, that’s just slightly more than the thickness of a penny, and not as thick as a nickel. Re: About the spacing of Mandolin strings Thanks Don, I really ought to get out more, and read other sites. Fiddlecrazy - your 2.5 mm is about the same as most mandolins I see, and I find it much harder to play than my own setting, which incidentally is exactly as in the quote Don gives - 1.5mm. It’s interesting then that you find a wider space makes it easier, rather than the other way about. The advantages of the closer spacing I have found are: you get less mechanical noise from the pick as it goes from the first to the second string of the pair, and you get much more certainty of playing both strings.

Several people that I have seen, if you observe closely you see that in fact they only play one string of the pair for quite a lot of the time. The other mods I have made to mine are a lower bridge and zero fret to make for a much lighter action. I think this is what people pick up on when they say its easier to play. Cheaper instruments that I have seen tend to have an outrageously high zero fret, making it very difficult to play first fret without drawing blood. Dave Buying Guide: How to Choose a Mandolin | The HUB Thursday, 08 December 2016 17:06 . Tweet Choosing the mandolin that makes sense for your skill level and budget. If you’re shopping for a mandolin, you’ve arrived at the right place. With our huge selection of mandolins that ranges from affordable yet thoroughly playable starter mandolins to entirely handcrafted professional instruments, you’re sure to find the one that’s right for your music, skill level, and budget. In this buying guide you’ll learn a little history of the mandolin , get to know the various body styles, and find out about the things to look for when choosing your mandolin.

We’ll also offer some tips to help you get started playing the mandolin. Table of Contents How Much Should I Figure on Paying? A Brief History of the Mandolin Parts of the Mandolin From A to F: Mandolin Body Styles Mandolin Construction Methods and Woods Electric Mandolins Getting Started Playing the Mandolin Summing Up How Much Should I Figure on Paying? As with most things, you get what you pay for. You’ll find mass-produced mandolins made of laminates priced from under $100 to hand-crafted professional instruments with deluxe appointments and the highest grade tonewoods that carry price tags well north of $10,000. In between those extremes are dozens of moderately priced mandolins, most of which are completely playable and tonally satisfying. How much you should pay is a function of your budget, your commitment to mastering the mandolin, and your desire for certain features. As a general rule of thumb, buy the best instrument your budget allows for the best combination of playability, appearance, and sound. Reading reviews by both the pros as well as fellow customers on Musician’s Friend’s website can help narrow your choices.

The Mandolin—A Brief History Descendants of the lute family, today’s various mandolin types are mostly outgrowths of the Neapolitan mandolin, developed in Naples during the 18th century. Today’s bowl-back mandolins most closely resemble those early Italian instruments, and are popular with folk and classical musicians. In the mid 19th century, the mandolin fell out of favor, and its considerable repertoire of music was largely forgotten. A resurgence of the mandolin’s popularity in the early 20th century led to the development of the various modern mandolin shapes and designs we know today. Much of this development happened in the U.S., when American luthiers began making flat-back and arched-top mandolins. Two pivotal figures were responsible for creating the modern mandolins we associate with bluegrass, country, blues, and jug-band music: Orville Gibson, and his acoustic engineer, Lloyd Loar. It was this pair who were responsible for the Florentine or F-style , and pear-shaped A-style mandolins that we know today. Most current acoustic mandolin models have a lineage that traces directly back to these instruments built by Gibson.

If Gibson/Loar were responsible for the designs of modern mandolins, it was a Kentuckian named Bill Monroe who defined the way the mandolin is played, at least where American roots music is concerned. The Loar-built F-5 mandolin Monroe bought in 1943 at a Florida barbershop would become the quintessential bluegrass mandolin, and Monroe’s playing style that combined fiddle-type leads with strong, percussive chording would become the gold standard for American country, bluegrass, and roots-music mandolinists. Later, musicians would continue to expand the mandolin’s reach into other music forms. Notably, country performer Jethro Burns demonstrated the mandolin’s versatility, tackling jazz and Western swing tunes. Today, players like Chris Thile, David Grisman, Marty Stuart, Vince Gill, Sam Bush, and U. Srinivas continue to push the boundaries with their excursions into pop, rock, and even Indian Carnatic music. Parts of the Mandolin Because of its popularity we’ve chosen to illustrate the mandolin’s anatomy using an F-style instrument as an example. However, all commonly available acoustic mandolins share the same part names.

Headstock » also called the head or peghead, the tuning pegs are mounted to it. Tuning pegs » also called tuning machines, machine heads, or tuners, they are geared mechanisms that hold the strings and are used to adjust string tension. Nut » Also called the zero fret, it together with the bridge and tailpiece keeps strings in proper alignment. Neck » It extends from the headstock to the body and sometimes contains a metal truss rod that adds strength and permits intonation adjustments. Frets/fretboard or fingerboard » Glued to the neck, the fretboard has embedded metal frets. Pressing the strings onto the frets produces notes according to the frets’ positions. Position markers » Often simple dots inlaid in the fretboard, but sometimes more ornate, they help orient the player’s fretting hand. Body » Consists of the top, sides, and back. The top, also called the soundboard, is primarily responsible for producing the mandolin’s sound, and depending on the model may be flat, or arched similarly to a violin. Some mandolins have flat backs, others are bowl-shaped. Scroll » Primarily decorative, it is only found on F-style mandolins.

Pickguard » Not all mandolins have this part designed to protect the body’s finish. Sound hole » Shapes vary depending on the mandolin model. The illustrated type is an f-hole, but oval sound holes are also common, and provide the same function of projecting the mandolin’s sound. Bridge » Made of wood, it transfers the strings’ vibrations to the mandolin’s top. Tailpiece » Often made of ornately stamped or cast metal, it provides the anchor point for the strings. From A to F: Mandolin Body Styles While A-style and F-style mandolins are generally similar in tone, F-style models tend to be more popular among bluegrass and country artists. We’ll cover the details and differences among the most popular mandolin body styles here. The Rogue RM-100A is a very affordable A-style mandolin that will give students on a budget a great start. A-style mandolins: This is something of a catch-all term used to describe tear-shaped and oval-bodied mandolins that don’t otherwise fall under the the F-style or bowl-back categories. The term grew out of Gibson’s A-type mandolins produced in the early 20th century.

Many have carved tops and backs with the back in some cases being arched like a violin. Somewhat confusingly though, A-style mandolins with arched backs are often described as having flat backs to differentiate them from bowl-back mandolins. Nowadays, some A-style models have more guitar-like profiles. Because they lack the fancy scrolls and points found on F-style mandolins, they are somewhat easier to build, and are therefore often less costly. A-style models tend to be popular with classical, folk, and Celtic musicians. Gibson’s F-5L “The Fern” Mandolin is an exacting reproduction of the original created by Lloyd Loar and is coveted by the world’s best bluegrass mandolinists. F-style mandolins: As we noted in our brief history above, Gibson produced the first F-style mandolins in the early 1900s. With their delicate body scroll and lavish appointments, they were the top of the Gibson line. The most renowned model was the F-5 designed by Gibson’s acoustic engineer, Lloyd Loar, and built under his supervision between 1924 and 1925.

These instruments with Loar’s signature on their label are the world’s most sought-after mandolins and command huge prices today. Most modern F-style mandolins are often either exact replicas or similar-looking adaptations.They typically have the twin f-holes of the F-5 or a single oval sound hole. Most F-style models have body points on the lower side of the instrument that both subtly influence tone and provide a convenient resting point on the seated player’s thigh. Some modern luthiers and mandolin manufacturers have created offshoots that borrow some attributes from the original F-style models, but they have added their own modern touches. F-style mandolins, also sometimes called Florentine mandolins, are the first choice for most bluegrass, country, and roots-music musicians. Bowl-back mandolins: With their rounded backs these mandolins more closely resemble their Italian forerunners as well as traditional lutes.

They’re sometimes still referred to as Neapolitan mandolins because of the similarity to their Italian ancestors You’ll also see them referred to by the more countrified term “taterbugs.” High-quality bowl-back mandolins are popular with musicians who play classical, Baroque, renaissance, and other historical music styles. Due to the volume of their bodies, bowl-backs usually produce a deeper, rounder tone than other mandolin body types. Mandolin Construction Methods and Woods Far and away, spruce is the wood of choice in constructing mandolin tops, also called soundboards. Its dense grain provides the same bright and articulate response in mandolins that it produces in other stringed instruments such as guitars and violins. Spruce is unsurpassed in transmitting every nuance of the musician’s technique on the strings. Due to the scarcity and cost of high-quality spruce, some makers instead use cedar or mahogany that produce a somewhat deeper tone. The best quality mandolins have soundboards hand-carved from solid pieces of spruce. Though many have arched tops, there are models with flat tops that are preferred by some players. Both types may have beautifully figured wood that adds to the instrument’s aesthetics—and cost.

Book-matched tops are made from two pieces of wood whose grain lines are positioned so as to form an open book-like appearance where the two glued-together pieces meet. Lower-cost mandolins often have laminate tops—several layers of wood pressed together. Laminates may have a thin veneer of attractively grained wood on top. Laminate tops are pressed into shape rather than being carved—a much less costly method that helps keep the mandolin’s price down. While solid spruce-topped mandolins are preferred by professional mandolinists, laminate-top mandolins are capable of producing very acceptable sound, and can be a good choice for the new player whose budget is tight. Moderately priced mandolins may have a solid spruce top and a body made of laminated wood—a construction compromise that results in good tone while keeping the price tag down. As with their cousin, the violin, better-quality mandolin bodies—composed of the sides (sometimes called the rims) and back—are usually made of solid maple. Koa, mahogany and other hardwoods are also sometimes used.

The fretboards of mandolins are usually made with rosewood or ebony—both very hard woods with a smooth surface that enables fast-fingered fretting. Necks are usually made with maple or mahogany for maximum rigidity. The neck is often made of two or more pieces of wood that are glued together. (Unlike tops, laminated necks are considered a plus.) Grain lines in the wood are often opposed to prevent warping or twisting. Most mandolin necks contain an embedded metal truss rod that allows neck adjustments to improve the instrument’s intonation and playability. Unlike the bridge on many guitars, the mandolin bridge is not fastened to the top, instead being held in place by the strings. It is often made of either ebony or rosewood. As we’ll see below, electric mandolins may have a bridge that contains an electronic pickup that allows amplification of the mandolin. Mandolin hardware includes the tuners, also called tuning machines or machine heads , and the tailpiece. Good-quality tuners with smooth-operating gears and solid construction are a must in order to tune the instrument and hold the strings in tune during performance.

Well-designed tailpieces that hold the strings in place also can contribute to the instrument’s volume and sustain. They vary in design and are often elaborately decorated to enhance the mandolin’s visual appeal. Mandolin cosmetics contribute little or nothing to the sound of the instrument, but can impact the value and pride of ownership. The most common cosmetic upgrades include fretboard and headstock inlays, often made of mother-of-pearl or abalone shell. Much of this inlay work is based on early historic mandolin motifs. The fern-like detailing on the the headstock of the revered Gibson F-5 is often mimicked. The finishes used to protect the mandolin’s wood can subtly affect the sound of the instrument while also enhancing its look. Many F-style mandolins have finishes that resemble those used on violins. Thin nitrocellulose lacquer finishes are considered by many mandolin aficionados to offer the most transparent sound. That said, there are many other finishes used on mandolins including varnishes, stains, and polishes that aim to bring out the beauty of the woods without affecting the tonal quality or volume of the mandolin.

Electric Mandolins Starting in the late 1920s, electric mandolins began making an appearance in the U.S. With their ability to be heard alongside much louder instruments in band settings, and the mobility they afforded onstage performers, their popularity has continued to grow. Gibson and Vega both introduced electric mandolin models in the 1930s. Later developments included 4- and 5-string models. Though electric mandolins are usually played and tuned like their standard acoustic brethren, their body types can vary considerably. How they’re electrified also varies, some being equipped with pickups similar to those used on electric guitars, while others are essentially acoustic instruments with a pickup that transmits the mandolin’s output to an amplifier or sound system. We’ll look at the most common types here. Semi-hollow electric mandolins: Like their semi-hollow guitar counterparts, they have a wood center block running through the body interior that helps tame the tendency to produce feedback that can be an issue with fully hollow electrified mandolins The budget-friendly Dean Tennessee Acoustic-Electric Mandolin makes it easy to plug in and play.

Acoustic-electric mandolins: These models typically resemble traditional acoustic mandolins, but incorporate a bridge-mounted piezo-electric pickup that converts the vibrations of the strings to electrical impulses. These electrical signals are routed through a preamplifier usually mounted on the top rim of the mandolin. The preamp increases the signal strength and sends it via a cable to an external amplifier or sound system. The preamp usually includes volume and tone controls, and may also include a built-in electronic tuner. Many performers prefer acoustic-electrics as an alternative to using a microphone in performance, since using a mic can cause feedback and keeps the player planted in one spot onstage. Electrifying a Standard Acoustic Mandolin There are a range of aftermarket pickups that can be used to electrify a standard acoustic mandolin. Most use a piezo-electric pickup element that is embedded in a bridge designed to replace the acoustic mandolin’s original bridge. Some designs require the use of a preamp. There are also magnetic pickups available that are designed to be used with small stringed instruments such as violins and mandolins. Installing any of these electronic options is likely to require the services of a professional.

Mandolin Tuning Standard 8-string mandolins have four courses, each with 2 adjacent strings that are usually tuned in unison. This gives the mandolin its distinctive chiming sound. By far the most common tuning is the same scheme used on violins: G-D-A-E. There are other tunings occasionally used in which string pairs are tuned to different pitches to create “cross-tuning.” It’s also possible to tune a mandolin to match some of the intervals found on a guitar, offering a more familiar feel for guitarists. Mandolin Accessories Well-chosen accessories for the mandolin will enhance your playing experience and help to protect your investment. These include: Mandolin straps: This is a necessity if you plan to play standing up. There are many choices of materials and looks to suit your personal taste. Mandolin capos: This device clamps on the fretboard allowing you to raise the overall pitch of the mandolin so you can play songs in keys that are higher than those they were written in. This can be especially useful for singers whose vocal range is higher than the song’s usual key. Capos are available to fit the mandolins neck.

Mandolin cases and gig bags: Protect your mandolin from scrapes and scratches; they’re pretty much essential if you plan to take your mandolin on the road or to gigs. Picks: Mandolin players use a variety of types including those made specifically for the mandolin as well as guitar picks. Strings: Sooner or later you’ll need to change your mandolin’s strings. A fresh set can revive the tone of a mandolin that seems to have lost its luster. Strings are made using various materials, each with their own tonal characteristics. Experimenting with several types can help you find a tone that’s more pleasing and brings out the innate beauty of your mandolin’s sound. Tuner: A good-quality tuner will make the process of tuning up your mandolin much easier. Some models have a specific mode for tuning mandolins that makes the process even simpler. Dig deeper with our Mandolin String Buying Guide. Getting Started Learning to Play the Mandolin While having a friend or professional teacher show you the ropes is invaluable, nowadays there are a lot of resources available to get you started playing the mandolin on your own.

These include: Mandolin Instructional Books, Tutorials, DVDs, and CDs You’ll find a huge range of resources to match your mandolin expertise, whether you’re an absolute beginner, intermediate student, or seasoned player looking to improve your skills. Many mandolin how-to’s and tutorials include DVDs and CDs with all kinds of audio and video examples of the techniques being taught. Some also include access to online resources where you can post questions and chat with other mandolin students, teachers, and enthusiasts. Many of these mandolin instructional books and media are focused on specific music styles such as bluegrass, country, or folk. Mandolin Songbooks, Chord Guides, and Easy Tab Arrangements With dozens of titles to choose from, you’ll find all the songs and music styles you love represented. Many offer simple arrangements of popular songs that are easy for beginners to learn. There are also numerous mandolin songbooks and learning tools written by the pros you admire, offering their tips and tricks for creating great music on the mandolin. Explore Musician’s Friends huge selection of mandolin instruction books, tutorials, CDs, DVDs and songbooks.

Summing Up You should now have some good basic information about the kinds of mandolins out there as well as the things to look for in shopping for a mandolin. There is no simple formula in arriving at the best instrument for your needs and budget. Your fingers and ears should be the ultimate judge. One basic suggestion is to shop for the best instrument that falls within your budget. A poorly made mandolin that’s hard to play and tune is likely to discourage even the most determined student. Reading professional and online reviews of various mandolin models can be helpful in pinpointing the right instrument. You’ll also find hundreds of user reviews from fellow musicians and mandolin students alike as you peruse our vast collection of mandolins. We want you to be totally pleased with your new mandolin and offer 45-day, no-hassle returns (10 days on mandolins priced at $1999 or more). After reading this guide, if you’re still not sure what mandolin is right for you, we invite you call to one of our friendly and knowledgeable Gear Heads at (877) 880-5907.

4 Ways to Play Mandolin - wikiHow Setting Things Up 1 Purchase the right mandolin . The mandolin has been around for centuries, and during that time, different styles have developed. Choose the right mandolin to match your preferences. The three main types are Neapolitan, A-style, and F-style. Neapolitan types are used for classical music. A-style types are used for bluegrass, Irish, classical, and rock music. F-style types are used for bluegrass. Since F-style mandolins are expensive and ornate, they are less practical for beginners. 2 Find a pick you feel comfortable using. The only real way to find the right pick is to experiment with different weight picks until you find one that feels comfortable in your hands. Generally, light to medium picks are used for mandolin playing, but this is not a strict rule. 3 Invest in a few audio CDs. One of the most effective ways to get used to the timing and overall sounds of the mandolin is to play along with audio recordings of professional mandolin music. Focus on the mandolin styles you're most interested in, but listen to the mandolin play a variety of different songs and genres for more well-rounded knowledge.

Make sure that you mix older mandolin music in with newer mandolin music. Newer techniques and styles are built from older ones, and understanding the older ones will make it easier to learn the newer styles. When you are learning a new song, embed that song firmly in your mind by listening to it repetitively. There will be room to develop your own personal twist later, but for now, you need to know the basic tune thoroughly enough to know how it is supposed to sound when played correctly. Part 2 Familiarizing Yourself with the Mandolin 1 Hold the mandolin right. You need to hold the mandolin on your lap. The neck of the mandolin should point upward and diagonally toward your non-dominant side. Do not press the mandolin against your torso too securely since doing so can deaden the sound. The forearm connected to your dominant hand should be horizontal and the arm should be bent at the elbow. 2 Know what to do with your hands. Your left hand (or non-dominant hand) will fret individual chords. Your right hand (or dominant hand) will pluck the strings as you play notes.

[1] The fingers of your non-dominant hand will press down on the frets along the neck of the mandolin for each chord. Your thumb should be at the top of the neck, and the fingers should come up from the bottom. You should hold the pick in lightly yet firmly in between your thumb and first finger of your dominant hand. The pick should rest on the first finger along the thumb side, in between the first joint and the tip. The pointed edge of the pick should face out. 3 Tune the mandolin . You need to make sure that the strings of the mandolin are properly tuned before you can begin playing it. The strings of a mandolin are arranged in pairs. Both strings in each pair will be tuned to the same note. The string pairs are traditionally tuned from low to high, ranging from G-D-A-E. The highest string pair, E, should be closest to the floor. Use an electric tuner for the best, most accurate results. If you do not have an electric tuner, however, you can use another instrument to help you tune the strings correctly. 4 Understand the difference between chords and notes. A chord refers to a combination or family of musical tones.

A note is a certain musical tone played within a chord. Chords are controlled by your non-dominant hand. Notes are controlled by your dominant hand and your non-dominant hand. Both should be indicated on the musical score or tablature you intend to practice. Part 3 Learning the Chords 1 Chop the strings. Do not hold the strings down at the frets constantly since doing so will quickly wear you out. Instead, "chop" the frets before strumming the string. [2] Rest your fingers on the chord before you play it. Immediately before the pick strikes the string, depress the string at the fret. As soon as the pick leaves, release the strings. The timing of your press-and-release will vary the way the instrument sounds, so you'll need to practice to find a timing—and by extension, a sound—that works for you. 2 Learn the G-Chop chord. This is one of the three major chords you'll need to learn to play most mandolin songs. Your index finger should be in the top fret on the string second closest to your palm. Your middle finger should be in the second fret on the string closest to your palm.

Your ring finger should be in the fourth fret on the string second furthest from your palm. Your pinky finger should be in the sixth fret on the string furthest from your palm. 3 Learn the C-Chop chord. This is another of the three major chords you'll need to master. Your index finger should be in the top fret on the string closest to your palm. Your middle finger should be in the third fret on the string second furthest from your palm. Your ring finger should be in the fourth fret on the string second closest to your palm. Your pinky finger should be in the sixth fret on the string furthest from your palm. 4 Practice the D-Chop chord. This is the final of the three major chords you must learn if you want to play the mandolin. Your index finger should be in the second fret on the string second furthest from your palm. Your middle finger should be in the third fret on the string second closest to your palm. Your ring finger should be in the fifth fret on the string furthest from your palm. Your pinky finger should not be on the mandolin at all. Part 4 Playing Notes and Practicing the Mandolin 1 Pick a learning style.

The easiest way for most beginners is to read music from a tablature. If you know how to read music the traditional way (on a stave), you could use that option. It can be difficult to learn initially, however, which is why beginners who don't know it already usually don't rely on the stave. If you have an exceptionally good ear, you could also learn to play the mandolin simply by ear. 2 Read the tablature lines. [3] The tablature uses four lines—one for each pair of strings on your mandolin. The top line represents the highest note. It does not necessarily represent the top string. To gain better perspective, turn the mandolin on its side so that the strings are facing up and the back runs parallel to the floor. When you look down and toward the side of the mandolin, you should notice that the highest string is the one which is tuned to the highest note. This highest string is the top line of the tablature. For standard G-D-A-E tuning, the bottom line is G, the second to bottom is D, the third to bottom is A, and the highest is E. Tablatures written for a different tuning should be marked as such.

Usually, the tablature will look something like this: E--||---------------- G--||---------------- 3 Read the notes. Notes are designated by numbers. The absence of a number indicates that no string is to be played. When you see a 0, it signifies an open string. Any other number will tell you which fret to press the string down in. For instance, a "1" is your top fret, "2" is the second fret, "3" is the third fret, "4" is the fourth fret, "5" is the fifth fret, and "6" is the sixth fret. 4 Add it all together. By looking at the fret number and the string line, you can determine how to play the note. For example, a "2" placed on the third line indicates that you should hold the second fret and play on the third highest pitched string (usually "D"). In tablature form, that would look something like: E--||-------------------- G--||-------------------- 5 Understand how chords are portrayed using tablature. Chords are indicated by placing numbers on top of one another.

For example, C-major would look like: E--||--0-------------- D--||--2-------------- G--||--0-------------- Tablature will not tell you which finger to use for each fret, however. For that, you must practice the chord positions separately, as indicated previously. 6 Determine rhythm. The duration of each note is indicated by how much horizontal spacing is left in between notes. Actual notes (whole notes, half notes, quarter notes, eighth notes) are not indicated on the tablature. Rhythm is based entirely on the way notes and their durations are related to each other on the tablature. Numbers placed closely together indicate shorter notes. Wider spacing indicates longer notes. Numbers spaced evenly apart should last the same length of time. When there is a wider space, the note indicated by the number before it should last for a relatively longer time (a gap twice as wide means the note is twice as long, etc.). The same can be said for notes followed by smaller spaces (a gap half as wide means the note is half as long, etc.). Community Q&A If this question (or a similar one) is answered twice in this section, please click here to let us know. Tips Change the strings monthly.

Strings dull quickly, especially with use, but dull strings can hurt your fingers and cause the instrument to become out of tune much more quickly. Play slowly. As you first begin to learn the mandolin, practice slowly and take the time to master each chord and note. You can gain speed once your technique is perfected. Take lessons for more advanced help. Many people find it much easier to learn an instrument when instructed by a professional. Look for a local teacher or find classes online. Things You'll Need How to Play Mandolin - Native Ground Native Ground 10 Comments NOTE: I wrote this article in back in 1980 for the Mother Earth News. While it has some good basic information in it, if you’re really serious about learning the mandolin, your best best is to check out my new book, Bluegrass Mandolin for the Complete Ignoramus!. I personally guarantee it will help you. Here’s what this book will do for you: 1) It has 28 bluegrass songs written out in extremely simple mandolin tab and music. 2) It will get you started learning how to improvise. 3) It comes with a free instructional CD, so you can hear what the tunes and scales sound like.

If you order this book from us and don’t benefit from it, you can return it for a full refund. Thanks! ~ Wayne Erbsen Don’t yet have an instrument? Let Wayne help you pick out the perfect mandolin for you. Contact him at banjo[at]nativeground.com Some people call it a ‘tator bug because of its traditional round back, but most people know it as a mandolin. The instrument, a distant relative of the lute and (even more distantly) the guitar, was brought to America from eastern Europe during the last century. It wasn’t exactly an overnight success, though – probably because the import’s bowl-like back made it frustratingly hard to hang onto to play. But in the late 1800’s, an instrument maker in Kalamazoo, Michigan, named Orville Gibson designed an easy-to-hold, flat-backed model that dramatically increased the mandolin’s popularity. Mandolin societies and even mandolin orchestras sprang up everywhere and flourished. The Gibson company went into full production, building not only regular mandolins but also banjo mandolins, mando-cellos, mando-basses, and even tiny piccolo mandolins.

The instrument’s heyday continued up until the time America entered World War I. Then “hot” music became the country’s passion . . . and the mandolin was usurped by the tenor banjo, which was louder and could more easily compete with horns in the new jazz orchestras. The mandolin was put away to gather dust. A TURNING POINT A couple of decades later (in October of 1939, to be exact), Bill Monroe walked onto the stage of WSM’s Grand Ole Opry for the first time . . . and not only ushered in a new style of music, which we now call “bluegrass,” but also rescued the mandolin from near oblivion. Before Monroe demonstrated the vast possibilities of the mandolin with his dazzling virtuosity, the instrument had played only a fairly minor role in country music; it had always taken a backseat to the fiddle and guitar. True, many of the old-time brother duets of the 30’s (probably the most notable of which was Lester McFarland and Robert A. Gardener, better known as Mac and Bob) did use the mandolin for both lead and accompaniment.

But for the most part, it was played in a rather laid-back, subdued fashion. All that changed with the coming of Bill Monroe. Backed by his band, the Blue Grass Boys (which in the mid-40’s included such legendary greats as Lester Flatt and Earl Scruggs), Monroe forged new directions for the mandolin and brought the instrument to national attention. In the years since, bluegrass has become a respected form of American music. Practically every bluegrass band today includes a mandolin. And a young contemporary mandolinist by the name of David Grisman has generated even more interest in the instrument by creating a compelling new sound he calls Dawg Music: an inventive, often complex combination of instrumental gypsy jazz (a la Django Reinhardt and Stephane Grappelli) and bluegrass. American and Japanese instrument manufacturers are hard put to keep up with the current demand for mandolins, and no doubt the ‘tator bug will continue to enjoy a steady rise in popularity over the years ahead.

GETTING STARTED I hope that some of you out there got ambitious over the past couple of months and built your own “hamdolin” (a rather funky mandolin made out of a ham can), using the instructions I provided in the last issue of MOTHER EARTH NEWS. But even if you didn’t, you should have no trouble getting your hands on a playable mandolin – beginner’s models are fairly inexpensive and available most anywhere instruments are sold. (You can also sometimes find them, bargain priced, at flea markets and garage sales . . . so keep your eyes peeled.) The mandolin is a great instrument for learning to play any or all of a variety of styles: folk, country, bluegrass, old-time, and even ragtime and jazz. So whatever effort you have to make to obtain an instrument and pick up the basics for making music on it will be well worth your while – that’s a promise. Besides, I’ll make learning to play so simple you’ll be picking out tunes in a matter of minutes. So what are we waiting for? Let’s get started right now . . . hold on to your hat!

A QUICK CHECK Before we jump right in and start to play, we’d better make sure that your instrument is in playable condition and that it’s tuned. (First things first, right?) I’m assuming that you’ve already checked to make sure that your mandolin’s tuning pegs work smoothly, that the instrument isn’t noticeably cracked or warped, and that it has all its strings – there should be four pairs. Although the mandolin has a total of eight strings, both members of each pair – called unison strings – are tuned to the same note and played at the same time. Thus, each pair is counted as only one string . . . either the first, second, third, or fourth. Now let’s take a look at your mandolin’s action, which in musician’s language means the height of the strings from the fret board. This is a critical factor, because if the strings are too high, you’ll have a hard time pushing your fingers down on them to create notes and chords, and if they’re too low, they’ll rattle or buzz on the frets (the little metal bars spaced at various intervals along the neck).

Hold your mandolin on your lap so that the neck is pointing to the left, and look at the little strip of bone or plastic, near the tuning pegs, which the strings cross over. This is called the nut. The grooves in the nut should allow the strings to barely clear the first fret. Now look at the bridge – the wooden bar that the strings cross over at the other end of your mandolin. The bridges on most modern mandolins have round adjustment nuts that allow you to raise or lower the action. To determine whether you need to do that, reach into your pocket and pull out some change (or borrow some from a less poverty stricken friend). Now stick a nickel between the strings and the twelfth fret, and adjust the bridge so that the action at that fret is exactly a nickel’s thickness. This will give you an extremely low action, but you should keep in mind that a low action is generally easier to play. If the strings make funny buzzing noises when you play them, though, the action is too low, and you’ll need to raise them up just a bit.

Generally, the best idea is to keep the strings low while you’re learning to play and then raise them up some when you’re ready to start showing off – most experienced players prefer a higher action because it produces a louder sound. (Incidentally, whenever you do need to raise the strings, it’s a good idea to carefully twist a screwdriver between the lower and upper parts of the bridge, to make adjusting the screws easier.) If you have any trouble getting your strings set up properly – so that they’re just a hair above the first fret and about a nickel’s width above the twelfth – show your mandolin to a musician friend or take it to a store that specializes in musical instruments. Most folks who are into making music are more than happy to help an eager beginner. TUNING OK. Now that you have your mandolin adjusted and rarin’ to go, let’s get it in tune. Sit down with your instrument again, holding it just as I described earlier, and look at the strings: The pair closest to your knee is the first string and it should be tuned to E. The second should be tuned to A, the third to D, and the fourth to G.

There are a number of ways to accomplish this, so let’s take a look at each one. Tuning to a pitch pipe: As you may know, the mandolin’s four strings are tuned to the same notes as a violin’s four strings . . . so if there’s a music store in your neighborhood, it’d be a good idea to stop in and pick up a violin pitch pipe. Then you can tune your mandolin’s strings simply by adjusting them to match the pitch pipe’s four notes. Tuning to the mandolin: If you don’t have access to a pitch pipe or an electronic tuner, don’t panic; you can always tune the mandolin to itself. Here’s how: Tune both G unison strings so that they sound exactly the same. Then hold down that pair (the “fourth string”) at the seventh fret – in other words, push the string down onto the space between the sixth and seventh metal strips – and pluck it. Be sure to push your fingers onto the fret board hard enough to get a good, clear sound. Now pluck the third string without pushing it down on any of the frets, and compare the resulting note with the one the G string produced.

If there’s a difference, change the D unison strings until that pair produces the same note when played open, or unfretted, as the G string makes when held down at the seventh fret. Once you get the D string to sound right, push it down at the seventh fret and adjust the A unison strings in the same manner . . . and finally, finger the A string at the seventh fret and tune the E unison strings so that they correspond to the fretted A. All this sounds complicated, but it’s not really. Try it, and you’ll see. Tuning to a guitar: Well – tuned guitars are hard to come by, but if you do find one you can tune your mandolin to it. Just make your E string sound the same as the guitar’s first, or bottom, string, which is also an E. Then ask the person holding the guitar to play the third string at the second fret; that’ll give you the note for your A, or second, string. Next, have the guitarist play the fourth, or D, string, and tune your D string to match. And finally, tune your G string to correspond with the note produced by the guitar’s third, or G, string.

An even better way to tune a mandolin to a guitar is to have the guitarist play E, A, D, and G chords for you. (In any case, thank your friend for the help; you just might need his or her services again!) Tuning hints: There’s no getting around it: The mandolin is a persnickety instrument to tune; the double strings seem to play tricks on your ears. Even expert players have a tough time getting their instruments adjusted perfectly. The only consolation is that once you do get the thing in tune, it tends to stay that way better than, say, a banjo. When you’re tuning a string, pluck it with your pick at the same time you’re turning the peg. This will give you a better feel for how much the string is changing, and should therefore help you get it adjusted that much quicker. Also, if you’re having trouble tuning one string in a pair without sounding the other string too (either because you strike it accidentally or as a result of sympathetic vibration), just lay a finger on the offender to muffle it while plucking its twin. Tuning can be frustrating and tricky, so be patient and keep on trying.

Take heart in knowing that other beginning mandolinists are also struggling at this very moment to get their blankety-blank instruments in tune. THE PICK Picks come in a variety of sizes, shapes, and thicknesses. After you’ve been playing awhile, you’ll get a feeling for which kind is best for you. For starters, though, I recommend a teardrop-shaped medium pick . . . and I also suggest that you buy several rather than just one or two. A good rule of thumb is to get one pick for every pair of blue jeans you own. That’s what they made that little pick pocket for, isn’t it? Holding the pick: Stick your right hand out in front of you, as though you were going to shake someone’s hand. Now, while keeping your other fingers pointed straight out, bend your index finger inward. Then balance your pick on the first joint of your index finger, with the tip of the pick pointing straight to the left. Finally, to keep your pick from falling on the floor when you play, lay your thumb on the middle of the pick with enough pressure to restrain the thing, but not so much that your thumb turns blue. You get the idea.

The middle of your thumb should be right on the middle of the pick . . . and the pick, in turn, should be resting directly on the first joint of your index finger. Remember to keep your other fingers pointed outward. THE WRIST When it comes to making music on the mandolin, the expression “It’s all in the wrist” is absolutely true. Subtle, nimble wrist movement is one of the keys to playing the instrument. Practice: While holding the pick as I just described, move your wrist up and down but keep the rest of your arm still. Then, when you get that down, practice strumming your mandolin’s strings, using your amazing new flexible wrist. Keep the pick at a right angle to the strings. PLAYING CHORDS The mandolin is well suited to playing melody, harmony, fill-in notes, and chords for accompaniment. Let’s start by learning a few simple chords. To play a D chord, push the first, or E, string down at the second fret with your middle finger, and-at the same time-fret the fourth, or G, string at the second fret with your index finger.

Keep in mind that when you’re chording, it’s important to push down hard enough on the strings to make each note ring clear. One way to make this easier is to hold your left thumb against the back of the neck and squeeze the strings between your thumb and fingers. Now strum all four strings with your pick. There! You’ve just played your first chord! Why, before you know it, you’ll be ready to play a whole song! In fact, that gives me an idea . . . YOUR FIRST SONG Most songs in country, bluegrass, and folk music can be played using only three chords . . . and in a few cases, you need to know only one chord to perform the tune. “Row, Row, Row Your Boat” is that kind of song. Are you game? Of course you are . . . Finger a D chord and strum down on all four strings, over and over, with a constant, rhythmic stroke. Try keeping a strong, steady beat, like the ticktock of a grandfather clock. Then, once you get that going, try singing “Row, Row, Row Your Boat” to the beat.

Here’s the song written out, with slash marks indicating where to strum to keep the rhythm going: Row, Row, Row Your Boat Row, row, row your boat, / / / / / Life is but a dream. / / / By George, I think you’ve got it! Now that you’ve mastered your first song, you’re ready to tackle anything, right? That’s the spirit! Let’s learn another chord: an A. Hold your left index finger on the third, or D, string at the second fret. Strum the bottom three strings (but not the fourth, or G, string). That’s all there is to it-A is a one-finger chord! Now practice playing your D and A chords, changing from one to the other without stopping or even hesitating. It’ll take a while for you to learn to do this smoothly, but it won’t take as long as you think it will – so just keep at it. Yes, I know playing two chords over and over again loses its thrill after a while. Let’s liven things up a little by learning a new song; this one’s in waltz rhythm.

The timing here sounds like tick rock rock, tick rock rock, or one two three, one two three. While holding your D chord, play the fourth, or G, string once with your pick (“tick”), and follow that by two strums down over the bottom three strings (“rock rock”). Play that over and over until you can keep a good waltz rhythm going. Now try it using your A chord. Remember, though, you should avoid hitting the fourth string. This time play your first note, or “tick,” with the third string held down at the second fret. Then follow that with two strums (“rock rock”) on the bottom two strings. After you’ve repeated the whole process a few times, practice keeping your right hand going while changing chords.

And when you have that down, you’ll be ready to play a fine old waltz: “Down in the Valley.” Here it is written out (the D and A over the words tell you which chord to hold and when to change): Down in the Valley Down in the val- ley tick tock tock tick tock tock tick tock tock tick tock lock A tick tock tock tick tock tock tick tock tock Hang your head o- ver tick tock tock tick tock tock tick tock tock tick tock tock D tick tock tock tick tock tock tick tock tock tick tock tock ANOTHER CHORD, ANOTHER SONG Now that you’ve mastered your D and A chords, and played them with incredible feeling in waltz time, let’s learn another chord-a G-and play all three chords (gasp!) in regular time. To create a G chord, fret the second, or A, string at the second fret with your index finger, and push the first, or E, string down on the third fret with your middle finger.

Once again, practice changing from one chord in your repertoire to the others until you can switch back and forth without missing a beat. OK, now let’s try a good old country tune: “Will the Circle Be Unbroken?” This time your strum, while you’re on your D and G chords, will involve striking the fourth string first, followed by a single downstroke on the bottom two or three strings. When you’re holding an A chord, begin by striking the third string at the second fret (avoiding the fourth string, of course), then follow with a strum on the bottom two or three strings. The rhythm will sound like tick rock, tick rock, with a slight accent on the “rock.” Will the Circle Be Unbroken? G Will the circle be unbroken C G By and by, Lord, by and by? There’s a better home a-waiting D G In the sky, Lord, in the sky. LEARNING A SCALE It’s important to learn a few scales, because they contain the notes you’ll need in order to play melodies – it’s the same kind of thing as developing a vocabulary so that you can construct sentences.

All scales contain eight notes; the first and last notes are always the same, but an octave apart. For example, a D scale has these notes: (See Below) D E F# G A B C# D 1 2 3 4 5 6 7 8 Now, here’s how to find the D scale on your mandolin. The first note of the scale (D, of course) is played by striking the third, or D, string open. Next, push the D string down at the second fret with your index finger and play it . . . that’s an E. Then play the D string at the fourth fret, using your middle finger, to get an F# . . . and at the fifth fret, using your ring finger, to produce a G. Follow that by playing the second, or A, string open to get (obviously) an A. Press your index finger down on the A string at the second fret to produce a B . . . use your middle finger at the fourth fret to play a C# . . . and finally, press your ring finger down on the A string at the fifth fret to finish the scale with a high D.

Practice your scale over and over, using just a downstroke on your pick to strike each note. Then try playing the notes by alternating up and down strokes with your pick. Don’t forget to hold your pick properly and to move only your wrist, not your arm, as you strike the strings. OK, so you’ve practiced (and practiced, and practiced some more), and you’re feeling pretty slick, eh? You say you can play the D scale forward and backward over and over without the slightest stumbling or hesitation? Great! Now let’s learn how to use that amazing scale of yours. As I said, scales are the building blocks with which you create melodies. Once you get comfortable with the D scale and develop a “feel” for the notes – how they sound, and where they are on your mandolin’s fingerboard – you’ll be ready to experiment a little. Try going partway up the scale and then back down. Or play the first few notes and then skip a note or two before completing the scale. Play every other note. As you become more and more adventurous, you’ll discover familiar melodies right at your fingertips! I’ll give you an example.

Play the first three notes of the scale: D (strike the third, or D, string open) . . . E (third string, second fret) . . . and F# (third string, fourth fret). Then play your D string open again, and repeat the four notes. Recognize the tune? Well, it should sound like “Frere Jacques,” otherwise known as “Are You Sleeping?” The rest of the melody (and thousands of others) can be picked out using only the eight notes of the scale. Go ahead . . . see how many other songs you can put together with your D scale. With a little practice and fearless experimentation, you’ll soon be amazing yourself and impressing your friends. And just think: This is only the beginning! You and your mandolin have just barely begun to get to know each other. There are lots of good books out there that’ll help you two become better acquainted – and don’t forget that the very best way to learn how to make any kind of music is to get together with other folks who play.

(In fact, this is especially true for the mandolin, which, because of its relatively high pitch, sounds much better when played in concert with a broader-ranged instrument, such as a guitar.) So go ahead and join in. Don’t be shy…everybody starts out as a beginner! * * * * * For more help with the mandolin, check out Wayne Erbsen’s book, Bluegrass Mandolin for the Complete Ignoramus! or Painless Mandolin Melodies, (the simplest mandolin book ever written) or Southern Mountain Mandolin , for intermediate players. Good luck, and keep pickin’! Note: I’m currently working on a new book on jamming on the mandolin, which will be available in Fall/Winter 2010, so get in touch then to find out about its availability. NOTE: Wayne Erbsen has put up some free mandolin video clips on YouTube. Check them out. Wayne Erbsen Teaches the G Scale on the Mandolin Wayne Erbsen Teaches the C Scale on the Mandolin Wayne Erbsen Teaches the D Scale on the Mandolin My newest book, Bluegrass Jamming on Mandolin, is now available!!!!

This fun book teaches 31 bluegrass jam favorites and covers how to play with others, how to improvise, how to make up new licks and fills, and pretty much everything you’ll need to march confidently into your next jam or picking session. Thanks,

Question: How many pairs of strings are there on a mandoline?
Answer: 5