Easy Beginners Banjo And Mandolin Songs
All these song tabs are for the mandolin or 4 string tenor banjo. I choose these songs as they are familiar to most people, plus they are all fairly easy to play and don't have too many notes to remember. Don't be put off just because some of the songs are for children, again, I picked them because of their simplicity.
Some banjo players will never need the following songs to get started and go straight into traditional tunes. But not every body picks things up that quickly and some need a bit of help along the way, so I have put these songs together especially for beginners to get them started, and sometimes that's all people are looking for ''A Start'' , after getting the basics off they'll soon be on their way and even learning songs by ear.
Yes, learning to play by ear does come, regardless of how bad you were starting off and felt like giving up many times out of frustration. Stay with it. Your time will not be wasted, don't be tempted to go watch that useless box in the corner.
So why should you learn these kids songs when you don't even like them ?
That's easy, When you're learning these songs you're making progress. Each step is a step in the right direction, and learning basic easy to play songs is part of the learning curve.
You most likely have no interest in knowing how to play Old McDonald on your banjo, but that's not the point, the point is getting your fingers to know where all the notes are on the fretboard so eventually the fingers will just go there without even thinking,and starting off with really easy stuff is great practise for that. Play these songs 'till you get really fed up listening to them before moving on to general folk and pop songs.
It shouldn't take too long before you're out of this section of the site. There's no point in me putting every single children's song I can think of on this page as that's not the point. As I said, you're not here to learn how to play kids stuff on you banjo / mandolin, you're here to learn basic fingering on the fretboard.
It's not only the kids songs that use easy to play notes. There's a whole heap of old pop and folk songs that also use basic notes. Take that classic 1960's song Da Doo Ron Ron, that classic only uses 3 notes for the whole song, give it a try.
Another one to try is Bye Bye Love by The Everly Brothers which goes back even further to the 50's and is very easy to play also.
Some banjo players will never need the following songs to get started and go straight into traditional tunes. But not every body picks things up that quickly and some need a bit of help along the way, so I have put these songs together especially for beginners to get them started, and sometimes that's all people are looking for ''A Start'' , after getting the basics off they'll soon be on their way and even learning songs by ear.
Yes, learning to play by ear does come, regardless of how bad you were starting off and felt like giving up many times out of frustration. Stay with it. Your time will not be wasted, don't be tempted to go watch that useless box in the corner.
So why should you learn these kids songs when you don't even like them ?
That's easy, When you're learning these songs you're making progress. Each step is a step in the right direction, and learning basic easy to play songs is part of the learning curve.
You most likely have no interest in knowing how to play Old McDonald on your banjo, but that's not the point, the point is getting your fingers to know where all the notes are on the fretboard so eventually the fingers will just go there without even thinking,and starting off with really easy stuff is great practise for that. Play these songs 'till you get really fed up listening to them before moving on to general folk and pop songs.
It shouldn't take too long before you're out of this section of the site. There's no point in me putting every single children's song I can think of on this page as that's not the point. As I said, you're not here to learn how to play kids stuff on you banjo / mandolin, you're here to learn basic fingering on the fretboard.
It's not only the kids songs that use easy to play notes. There's a whole heap of old pop and folk songs that also use basic notes. Take that classic 1960's song Da Doo Ron Ron, that classic only uses 3 notes for the whole song, give it a try.
Another one to try is Bye Bye Love by The Everly Brothers which goes back even further to the 50's and is very easy to play also.
Easy Pop Songs For Mandolin [ most are easy ]
Below is the list of songs [ tabs ] included in the Mandolin ebooks. The price is €7.90
and I'll email the download links after payment. Standard tuning GDAE,
You'll receive every song listed below which is around 800 and a mix of folk, ballads, pop and rock.
Now including a free Beatles ebook of songs and another of Irish rebel songs plus Christmas songs and hymns.
Also included is a 500 page ebook of lyrics and chords for the mandolin / tenor banjo in 3 different easy keys.
Martin
and I'll email the download links after payment. Standard tuning GDAE,
You'll receive every song listed below which is around 800 and a mix of folk, ballads, pop and rock.
Now including a free Beatles ebook of songs and another of Irish rebel songs plus Christmas songs and hymns.
Also included is a 500 page ebook of lyrics and chords for the mandolin / tenor banjo in 3 different easy keys.
Martin
I get a lot of requests for tabs to put on this site. I notice that nearly everybody who's looking for me to work out a song for them are looking for a song that's too difficult to play for their level. They haven't worked their way up from the basics and are looking to play songs that intermediate players should only be playing. I'm not saying you shouldn't try these songs, but before you do, get the easy one's off by heart first.
You can play all the songs in this section using the notes I marked out on the image of the fretboard. As you can see, there's not that many notes to play.
1. Familiarize yourself with the instrument
Before you start playing, it's important to become familiar with the different parts of the mandolin. The mandolin has a body, a neck, and four sets of strings. The strings are usually tuned to G, D, A, and E, with the G string being the thickest and the E string being the thinnest.
2. Learn how to hold the mandolin
There are a few different ways to hold a mandolin, but the most common is to sit down with the instrument resting on your right leg (if you are right-handed). Use your left hand to support the neck of the mandolin, and your right hand to pluck the strings.
3. Learn the basic chords
The mandolin is a fretted instrument, which means that you can play different chords by pressing down on the strings at different points on the neck. Some common chords in mandolin playing include G, C, D, and A. Practice switching between these chords to get comfortable with the finger positions.
4. Practice picking and strumming
The mandolin can be played with either a pick or your fingers. If you're using a pick, hold it between your thumb and index finger and use it to pluck the strings. If you're using your fingers, use your index, middle, and ring fingers to pluck the strings. Practice picking individual strings as well as strumming all the strings at once.
5. Learn some basic melodies
Once you've become comfortable with the basic chords and picking and strumming, you can start learning some simple melodies. There are many resources available online or in books that can teach you popular mandolin tunes, such as 'Cripple Creek' or 'Old Joe Clark.'
6. Experiment with different styles
The mandolin is a versatile instrument that can be played in various styles, including bluegrass, folk, and classical. Try experimenting with different techniques, such as tremolo (quickly picking a single string), double stops (playing two notes at once), and slides (moving your finger along the string to change the pitch).
7. Practice regularly
As with any instrument, regular practice is key to improving your skills on the mandolin. Set aside some time each day to practice and try to learn something new each time. You can also attend workshops or lessons to further improve your playing.
Remember to have fun and be patient with yourself as you learn to play the mandolin. With practice and dedication, you'll soon be able to play your favorite songs and develop your own unique style.
2. Learn the basic chords: The most common mandolin chords are G, D, A and C. To play a G chord, place your first finger on the second fret of the A string, your second finger on the third fret of the low E string, and your third finger on the third fret of the high E string. To play a D chord, place your first finger on the second fret of the G string, your second finger on the third fret of the high E string, and your third finger on the third fret of the B string. To play an A chord, place your first finger on the second fret of the D string, your second finger on the second fret of the G string, and your third finger on the second fret of the high E string. To play a C chord, place your first finger on the first fret of the B string, your second finger on the second fret of the D string, and your third finger on the third fret of the A string.
Practice switching between chords: Once you have learned the basic chords, practice switching between them smoothly. This will help you develop muscle memory and make it easier to play songs later on.
Use a chord chart: A chord chart is a visual representation of the mandolin fretboard with finger placements for different chords. It can be a helpful tool when learning new chords or trying to remember ones you already know. You can find chord charts online or in music books.
Experiment with different chord voicings: Chord voicing refers to the order and combination of notes within a chord. On the mandolin, you can play the same chord in different positions on the fretboard, creating different sounds. Experiment with different voicings to find the one that sounds best to you.
Learn barre chords: Barre chords involve using one finger to hold down multiple strings on the same fret. These chords can be challenging at first, but they allow you to play a wider range of chords and extend your playing abilities.
Practice strumming: Once you are comfortable with switching between chords, practice strumming patterns. Strumming is the motion of your pick or fingers across the strings to create a rhythmic sound. You can find strumming patterns online or make up your own.
Play along with songs: A fun way to practice playing mandolin chords is to play along with your favorite songs. Look up the chords for the song and practice playing them along with the music.
Before you start playing, it's important to become familiar with the different parts of the mandolin. The mandolin has a body, a neck, and four sets of strings. The strings are usually tuned to G, D, A, and E, with the G string being the thickest and the E string being the thinnest.
2. Learn how to hold the mandolin
There are a few different ways to hold a mandolin, but the most common is to sit down with the instrument resting on your right leg (if you are right-handed). Use your left hand to support the neck of the mandolin, and your right hand to pluck the strings.
3. Learn the basic chords
The mandolin is a fretted instrument, which means that you can play different chords by pressing down on the strings at different points on the neck. Some common chords in mandolin playing include G, C, D, and A. Practice switching between these chords to get comfortable with the finger positions.
4. Practice picking and strumming
The mandolin can be played with either a pick or your fingers. If you're using a pick, hold it between your thumb and index finger and use it to pluck the strings. If you're using your fingers, use your index, middle, and ring fingers to pluck the strings. Practice picking individual strings as well as strumming all the strings at once.
5. Learn some basic melodies
Once you've become comfortable with the basic chords and picking and strumming, you can start learning some simple melodies. There are many resources available online or in books that can teach you popular mandolin tunes, such as 'Cripple Creek' or 'Old Joe Clark.'
6. Experiment with different styles
The mandolin is a versatile instrument that can be played in various styles, including bluegrass, folk, and classical. Try experimenting with different techniques, such as tremolo (quickly picking a single string), double stops (playing two notes at once), and slides (moving your finger along the string to change the pitch).
7. Practice regularly
As with any instrument, regular practice is key to improving your skills on the mandolin. Set aside some time each day to practice and try to learn something new each time. You can also attend workshops or lessons to further improve your playing.
Remember to have fun and be patient with yourself as you learn to play the mandolin. With practice and dedication, you'll soon be able to play your favorite songs and develop your own unique style.
2. Learn the basic chords: The most common mandolin chords are G, D, A and C. To play a G chord, place your first finger on the second fret of the A string, your second finger on the third fret of the low E string, and your third finger on the third fret of the high E string. To play a D chord, place your first finger on the second fret of the G string, your second finger on the third fret of the high E string, and your third finger on the third fret of the B string. To play an A chord, place your first finger on the second fret of the D string, your second finger on the second fret of the G string, and your third finger on the second fret of the high E string. To play a C chord, place your first finger on the first fret of the B string, your second finger on the second fret of the D string, and your third finger on the third fret of the A string.
Practice switching between chords: Once you have learned the basic chords, practice switching between them smoothly. This will help you develop muscle memory and make it easier to play songs later on.
Use a chord chart: A chord chart is a visual representation of the mandolin fretboard with finger placements for different chords. It can be a helpful tool when learning new chords or trying to remember ones you already know. You can find chord charts online or in music books.
Experiment with different chord voicings: Chord voicing refers to the order and combination of notes within a chord. On the mandolin, you can play the same chord in different positions on the fretboard, creating different sounds. Experiment with different voicings to find the one that sounds best to you.
Learn barre chords: Barre chords involve using one finger to hold down multiple strings on the same fret. These chords can be challenging at first, but they allow you to play a wider range of chords and extend your playing abilities.
Practice strumming: Once you are comfortable with switching between chords, practice strumming patterns. Strumming is the motion of your pick or fingers across the strings to create a rhythmic sound. You can find strumming patterns online or make up your own.
Play along with songs: A fun way to practice playing mandolin chords is to play along with your favorite songs. Look up the chords for the song and practice playing them along with the music.
HOLDING THE MANDOLIN
The mandolin may be played either sitting or standing The sitting position is the most practical and is generally adopted by the best players.
The player should sit upright in a straight chair, the right leg crossed over the left knee, if desired. The back of the mandolin should rest against the body, at the waist and slightly to the right, the lower side of the instrument resting on the right thigh or held just above it.
The mandolin may be turned slightly, so that the player can just see the frets, but it is preferable to hold it perfectly straight. The neck of the instrument should be raised by the left hand, slightly above a horizontal line.
If the mandolin is played standing, which is not recommended, the instrument is held against the body as above, but slightly above the waist.
THE RIGHT ARM, WRIST AND HAND
The right forearm should rest upon the edge of the mandolin on or near the tailpiece and should press the instrument against the body, lightly but firmly. The right forearm, wrist and hand should form a nearly straight line, from the elbow to the thumb and finger which hold the pick. A downward curve at the wrist should be avoided, for although it allows a broad down stroke it limits the up stroke and the movement of the wrist, in playing, should be perfectly even, i.e. the hand should move an equal distance from the centre, for both the down and the up strokes.
There are various opinions in regard to the position of the right wrist. Some advocate a very high arched wrist, some a slightly arched wrist and some a perfectly flat wrist. The extremely high arched wrist should be avoided, as it draws the chords of the wrist too tightly and interferes with a free movement. There is no doubt that the perfectly flat wrist leaves the chords the most flexible and allows the broadest wrist motion but the position most generally adopted is to slightly arch the wrist, from one half to an inch and one half above the bridge. This may be left to the discretion of an experienced teacher.
However, whichever position of the wrist is used this point must be kept constantly in mind, the arm must not move, but all motion, either down or up must come from the hand where it joins the wrist.
THE LEFT ARM, HAND AND FINGERS
The left arm should hang naturally from the shoulder, with the elbow near the body. The neck of the mandolin should be lightly held between the third joint of the first finger and the first joint of the thumb, with the four fingers slightly separated and well curved over the finger-board and pointing toward the bridge. The thumb should be nearly opposite the first finger and should remain in the same relative position when the hand moves up or down the neck. The neck should not slip down into the hollow formed by the first finger and thumb, and the palm of the hand should not touch the neck. The wrist should be kept nearly straight.
By placing the fourth finger at the seventh fret on the first string, the first finger at the second fret on the second string, the third finger at the fifth fret on the third string and the second finger at the fourth fret on the fourth string a good idea of the correct position may be gained.
The strings should be pressed down only by the tips of the fingers, never by the ball or flat part and the fingers should touch the strings between the frets and not on them, for although we speak of placing a finger upon the sec- ond fret we actually place the finger on the second position, thus causing the string to rest on the second fret.
The action of the fingers should be vigorous and energetic the whole finger moving from the knuckle somewhat as in piano playing and the larger the string to be stopped and the more forcible the stroke of the pick, the firmer should be the pressure of the fingers on the fingerboard.
In ascending passages when a finger has been placed on a note it should remain there until the next finger above is firmly down.
The mandolin may be played either sitting or standing The sitting position is the most practical and is generally adopted by the best players.
The player should sit upright in a straight chair, the right leg crossed over the left knee, if desired. The back of the mandolin should rest against the body, at the waist and slightly to the right, the lower side of the instrument resting on the right thigh or held just above it.
The mandolin may be turned slightly, so that the player can just see the frets, but it is preferable to hold it perfectly straight. The neck of the instrument should be raised by the left hand, slightly above a horizontal line.
If the mandolin is played standing, which is not recommended, the instrument is held against the body as above, but slightly above the waist.
THE RIGHT ARM, WRIST AND HAND
The right forearm should rest upon the edge of the mandolin on or near the tailpiece and should press the instrument against the body, lightly but firmly. The right forearm, wrist and hand should form a nearly straight line, from the elbow to the thumb and finger which hold the pick. A downward curve at the wrist should be avoided, for although it allows a broad down stroke it limits the up stroke and the movement of the wrist, in playing, should be perfectly even, i.e. the hand should move an equal distance from the centre, for both the down and the up strokes.
There are various opinions in regard to the position of the right wrist. Some advocate a very high arched wrist, some a slightly arched wrist and some a perfectly flat wrist. The extremely high arched wrist should be avoided, as it draws the chords of the wrist too tightly and interferes with a free movement. There is no doubt that the perfectly flat wrist leaves the chords the most flexible and allows the broadest wrist motion but the position most generally adopted is to slightly arch the wrist, from one half to an inch and one half above the bridge. This may be left to the discretion of an experienced teacher.
However, whichever position of the wrist is used this point must be kept constantly in mind, the arm must not move, but all motion, either down or up must come from the hand where it joins the wrist.
THE LEFT ARM, HAND AND FINGERS
The left arm should hang naturally from the shoulder, with the elbow near the body. The neck of the mandolin should be lightly held between the third joint of the first finger and the first joint of the thumb, with the four fingers slightly separated and well curved over the finger-board and pointing toward the bridge. The thumb should be nearly opposite the first finger and should remain in the same relative position when the hand moves up or down the neck. The neck should not slip down into the hollow formed by the first finger and thumb, and the palm of the hand should not touch the neck. The wrist should be kept nearly straight.
By placing the fourth finger at the seventh fret on the first string, the first finger at the second fret on the second string, the third finger at the fifth fret on the third string and the second finger at the fourth fret on the fourth string a good idea of the correct position may be gained.
The strings should be pressed down only by the tips of the fingers, never by the ball or flat part and the fingers should touch the strings between the frets and not on them, for although we speak of placing a finger upon the sec- ond fret we actually place the finger on the second position, thus causing the string to rest on the second fret.
The action of the fingers should be vigorous and energetic the whole finger moving from the knuckle somewhat as in piano playing and the larger the string to be stopped and the more forcible the stroke of the pick, the firmer should be the pressure of the fingers on the fingerboard.
In ascending passages when a finger has been placed on a note it should remain there until the next finger above is firmly down.
THE PLECTRUM OR PICK
The plectrum, generally called pick, is made of various substances, but the best material is genuine tortoise shell and the best shape for general use is the following, which may be smaller or larger, according to the size of the players fingers.
A rather heavy pick is better than a light one, as a light, thin pick snaps and causes a scraping sound, whereas the heavy one will produce a pure, clear tone if correctly used.
The pick is held lightly but firmly, in a perpendicular position with its sides parallel to the strings, between the left point or side of the first finger,(close to, but not touching the nail, and the point of the thumb, about one quarter to one half inch from the nail. The thumb may project slightly across the finger. If desired the pick may be held between the second finger and thumb, in the above position. The second finger is used by many excellent players but the first finger is more generally used. The finger and thumb should be slightly curved but should not touch except at the tips and should form an O. The other fingers should be loosely curved underneath the hand toward the palm. It is better not to allow the little finger to rest on the sound board. The tone is produced by a broad even down and up motion of the haud, moving from the wrist and allowing the point of the pick to strike the strings as the hand moves across them. The idea of playing two strings with the down stroke and only one with the up stroke is practically obsolete and the motion in general use is straight a- cross each pair of strings thus producing the same amount of tone from each string. The up stroke is just as im- portant as the down, in correct tone production. The down and up motion of the hand is fast or slow according to the notes to be played and a proper control of this motion can only be acquired by constant practise.
The pick should strike the strings at the edge of the sound hole nearest the bridge for general playing, but aft- er a thorough control of the motion is acquired a fine effect in soft passages is produced by striking the strings near the fingerboard.
An important point to remember is, that although it is the pick which comes into actual contact with the strings, the correct tone is produced by the broad, even down and up motion of the hand and the pick should not move back and forth between the finger and thumb which hold it, but should be held firmly, not tightly, and the tone is prac- tically produced by the hand and wrist and not by the pick.
FINGERING AND PICKING SICNS
Figures are used to indicate the left hand fingering as follows,-0, open string, 1, first finger, 2, second finger, 3, third finger, 4, fourth finger.
This sign, indicates the down stroke of the pick and this, the up stroke. A staccato note marked with a dot, over or under it, is always picked.
These picking signs were officially adopted at the fifth annual convention of the American Guild of Banjoists, Mandolinists and Guitarists, as the correct way to indicate the down and up stroke of the pick.
The plectrum, generally called pick, is made of various substances, but the best material is genuine tortoise shell and the best shape for general use is the following, which may be smaller or larger, according to the size of the players fingers.
A rather heavy pick is better than a light one, as a light, thin pick snaps and causes a scraping sound, whereas the heavy one will produce a pure, clear tone if correctly used.
The pick is held lightly but firmly, in a perpendicular position with its sides parallel to the strings, between the left point or side of the first finger,(close to, but not touching the nail, and the point of the thumb, about one quarter to one half inch from the nail. The thumb may project slightly across the finger. If desired the pick may be held between the second finger and thumb, in the above position. The second finger is used by many excellent players but the first finger is more generally used. The finger and thumb should be slightly curved but should not touch except at the tips and should form an O. The other fingers should be loosely curved underneath the hand toward the palm. It is better not to allow the little finger to rest on the sound board. The tone is produced by a broad even down and up motion of the haud, moving from the wrist and allowing the point of the pick to strike the strings as the hand moves across them. The idea of playing two strings with the down stroke and only one with the up stroke is practically obsolete and the motion in general use is straight a- cross each pair of strings thus producing the same amount of tone from each string. The up stroke is just as im- portant as the down, in correct tone production. The down and up motion of the hand is fast or slow according to the notes to be played and a proper control of this motion can only be acquired by constant practise.
The pick should strike the strings at the edge of the sound hole nearest the bridge for general playing, but aft- er a thorough control of the motion is acquired a fine effect in soft passages is produced by striking the strings near the fingerboard.
An important point to remember is, that although it is the pick which comes into actual contact with the strings, the correct tone is produced by the broad, even down and up motion of the hand and the pick should not move back and forth between the finger and thumb which hold it, but should be held firmly, not tightly, and the tone is prac- tically produced by the hand and wrist and not by the pick.
FINGERING AND PICKING SICNS
Figures are used to indicate the left hand fingering as follows,-0, open string, 1, first finger, 2, second finger, 3, third finger, 4, fourth finger.
This sign, indicates the down stroke of the pick and this, the up stroke. A staccato note marked with a dot, over or under it, is always picked.
These picking signs were officially adopted at the fifth annual convention of the American Guild of Banjoists, Mandolinists and Guitarists, as the correct way to indicate the down and up stroke of the pick.
TUNING
The mandolin is strung with eight strings, each pair being tuned in unison. The strings are made as follows, the two E or 1st strings of rather fine steel wire, the two A or 2nd strings of a slightly heavier steel wire or of a fine steel wire wound with a fine silver or copper wire, the D or 3rd strings of steel wire wound with silver or copper wire and the G or 4th strings of heavier steel wire wound with silver or copper wire. The strings are grad- uated in size from the E's, the smallest, to the G's, the largest.
The pairs of strings are tuned as follows.
The mandolin is strung with eight strings, each pair being tuned in unison. The strings are made as follows, the two E or 1st strings of rather fine steel wire, the two A or 2nd strings of a slightly heavier steel wire or of a fine steel wire wound with a fine silver or copper wire, the D or 3rd strings of steel wire wound with silver or copper wire and the G or 4th strings of heavier steel wire wound with silver or copper wire. The strings are grad- uated in size from the E's, the smallest, to the G's, the largest.
The pairs of strings are tuned as follows.
Following are the three methods of tuning the mandolin in general use.
1. First tune one of the A strings to A above middle C on the piano, or to an A tuning fork or pitch-pipe, then tune the other A string in unison. Then place a finger at the seventh fret on the A strings already tuned. This gives the pitch E. Tune one of the E strings to this pitch, then tune the other E string in unison. Next place a finger at the seventh fret on the D strings and tune one of these strings until it is in exact unison with the open A strings, then remove the finger and tune the other D string in unison with the one already tuned. Next place a finger at the seventh fret on the G strings and tune one of them in unison with the open D strings, remove the fin- ger and tune the other G string in unison with the one already tuned.
2. Another method is to tune the A and E strings as above, then place a finger at the fifth fret on the A strings, which gives the pitch D and tune one of the D strings an exact octave below, then tune the other D string in unison with the one already tuned. Then place a finger at the fifth fret on the D strings, which gives the pitch G, and tune the G strings in unison an octave below.
3. Still another method is to tune each pair of strings to their respective notes on the piano, the first pair to E, the second to A, the third to D and the fourth to G.
In tuning we speak of each pair of strings, as the A strings etc. but, although there are two strings to each of the open notes E, A, D, G; after the instrument is tuned we speak of each pair as one string.
A test to see if the instrument is correctly tuned is to try the note at the fifth fret on the E, A and D strings with the open string below. This gives the octaves. It is also well to see if the note at the seventh fret on the G, D and A strings corresponds with the open string above.
1. First tune one of the A strings to A above middle C on the piano, or to an A tuning fork or pitch-pipe, then tune the other A string in unison. Then place a finger at the seventh fret on the A strings already tuned. This gives the pitch E. Tune one of the E strings to this pitch, then tune the other E string in unison. Next place a finger at the seventh fret on the D strings and tune one of these strings until it is in exact unison with the open A strings, then remove the finger and tune the other D string in unison with the one already tuned. Next place a finger at the seventh fret on the G strings and tune one of them in unison with the open D strings, remove the fin- ger and tune the other G string in unison with the one already tuned.
2. Another method is to tune the A and E strings as above, then place a finger at the fifth fret on the A strings, which gives the pitch D and tune one of the D strings an exact octave below, then tune the other D string in unison with the one already tuned. Then place a finger at the fifth fret on the D strings, which gives the pitch G, and tune the G strings in unison an octave below.
3. Still another method is to tune each pair of strings to their respective notes on the piano, the first pair to E, the second to A, the third to D and the fourth to G.
In tuning we speak of each pair of strings, as the A strings etc. but, although there are two strings to each of the open notes E, A, D, G; after the instrument is tuned we speak of each pair as one string.
A test to see if the instrument is correctly tuned is to try the note at the fifth fret on the E, A and D strings with the open string below. This gives the octaves. It is also well to see if the note at the seventh fret on the G, D and A strings corresponds with the open string above.
THE TREMOLO
The movement which is used to play sustained notes, on the mandolin, is called the tremolo.
The tremolo is produced with exactly the same motion as the picking, except that the hand moves across the strings with extreme rapidity.
The player should start the down and up picking motion on one of the open strings, slowly at first, then grad- ally increasing the speed of the motion until a clear, continuous, sustained tone is produced. The wrist should e loose and limber and the down and up motion very even, the hand moving an equal distance from the center both down and up. The pick should be held firmly for loud tones and lightly for soft tones. At first the movement may e uneven or irregular and the pick may catch in the strings, but these faults will be overcome by constant practice. The player should not attempt to count the strokes of the pick when playing tremolo, so many strokes to a half note, so many to a whole note etc. as the strokes are much too rapid to be counted when the proper speed is attained After a fairly rapid motion is acquired, the attention should be given to counting the time value of the notes to belayed.
A good average speed for general playing is approximately eight strokes to a quarter note in moderate tempo. For a loud tone the motion is sometimes a little slower and for a soft tone generally faster.
The study and practice of the tremolo should be begun at the same time that the player is learning the notes on he fingerboard, and should be practiced on all four of the open strings; also moving from string to string and at The same time keeping the tone continuous and sustained.
The movement which is used to play sustained notes, on the mandolin, is called the tremolo.
The tremolo is produced with exactly the same motion as the picking, except that the hand moves across the strings with extreme rapidity.
The player should start the down and up picking motion on one of the open strings, slowly at first, then grad- ally increasing the speed of the motion until a clear, continuous, sustained tone is produced. The wrist should e loose and limber and the down and up motion very even, the hand moving an equal distance from the center both down and up. The pick should be held firmly for loud tones and lightly for soft tones. At first the movement may e uneven or irregular and the pick may catch in the strings, but these faults will be overcome by constant practice. The player should not attempt to count the strokes of the pick when playing tremolo, so many strokes to a half note, so many to a whole note etc. as the strokes are much too rapid to be counted when the proper speed is attained After a fairly rapid motion is acquired, the attention should be given to counting the time value of the notes to belayed.
A good average speed for general playing is approximately eight strokes to a quarter note in moderate tempo. For a loud tone the motion is sometimes a little slower and for a soft tone generally faster.
The study and practice of the tremolo should be begun at the same time that the player is learning the notes on he fingerboard, and should be practiced on all four of the open strings; also moving from string to string and at The same time keeping the tone continuous and sustained.
