Definition: A major scale spans one octave (12 half steps) and contains eight notes. Whole steps occur between every note except between 3-4 and 7-8. 3-4 AND 7-8 ARE HALF STEPS .

Following is a diagram of the two G major scales in first position. (Optional fingerings for the open D, A, and E notes are shown in parentheses.)

LOWER OCTAVE G Major Scale

1. Ascend the first half of the scale starting upon the open G note on string four, G-A-B-C. The half step occurs between the second and third finger (B-C). Use alternate picking (down-up-down-up), always starting with a down-stroke. Play continuously (non-stop) until fluent. Then descend the same four notes, C-B-A-G (down-up-down-up), continuously until fluent.

2. Ascend the second half of the scale starting upon the open D note on string three, D-E-F#-G (down-up-down-up). This fingering is identical to the first half of the scale, the half step again occurring between the second and third finger (F#-G). Play continuously until fluent. Then descend the same four notes, G-F#-E-D (down-up-down-up).

3. Ascend the complete scale, continuously until fluent. Then descend the scale.

HIGHER OCTAVE G Major Scale

1. Ascend the first half of the scale starting upon the G note on string three with the third finger, G-A-B-C (down-up-down-up). The half step occurs between the first and second finger (B-C) on string two. Play continuously until fluent. Then descend the same four notes, C-B-A-G (down-up-down-up), until fluent.

2. Ascend the second half of the scale starting upon the D note on string two, D-E-F#-G. This fingering is identical to the first half, the half step again occurring between the first and second finger (F#-G). Play continuously until fluent. Then descend the same four notes, G-F#-E-D, until fluent.

3. Ascend the complete scale, continuously until fluent. Then descend the scale.

TRIADS

A simple chord is called a triad , which contains a root (the note the chord is built upon), a third (third note up the scale from the root), and a fifth (fifth note up from the root). A simple method for "spelling" triads is to hold up your left hand and count alphabetically on your fingers, G-A-B-C-D. Every other note is in the triad (G-B-D). You may figure out all seven triads in the key in this manner but you must use the notes in the particular scale. (In the key of G the F is always sharp.)

G-C-D CHANGES

The three major chords in a key are built upon the first, fourth, and fifth notes of the scale. In the key of G these are G major (1), C major (4), and D major (5). Practice the three fingering variations of each these chords. (Go to CHORDS)

Using all variations practice the changes G-C, G-D, and C-D until you can make a perfect "landing" every time. Mastering these changes will prepare you to play a variety of back-up for three-chord songs in the key of G. (See pages 8 & 9.)

ARPEGGIOS

Arpeggios are chords played one note at a time. The notes in arpeggios are most often the starting and stopping points for musical phrases. If you are currently playing strictly by ear you will seek out these notes. Practicing arpeggios will train your fingers to respond more consciously to your ear.

DOUBLESTOPS

Doublestops are partial chords involving two notes played simultaneously and are played on neighboring strings. Voicing is the term used to denote the numerical context (1-3-5) of the notes in the triad. Knowledge and use of doublestops will greatly enhance your playing and will lay the groundwork for a harmonic understanding of your instrument.

THE G-CHORD

Following is a diagram of a G arpeggio. The G major triad is "spelled" G(1)-B(3)-D(5). Doublestops and their voicings are given for each pair of strings.

The following format is a systematic approach for learning doublestops. For the most part it is tedious and I apologize for that. (The alternative is to learn them helter-skelter over a period of ten or more years.) However, the knowledge you will accumulate from your patience will dovetail into many other facets of musicianship.

LOW G DOUBLESTOPS

1. Ascend the G arpeggio upon strings four and three, G-B-D-G (1-3-5-1, down-up-down-up), continuously until fluent. Then descend the arpeggio, G-D-B-G. The doublestops on these two strings are derived from this arpeggio.

2. Practice all doublestops. (Use the fingers which normally play the notes as they occur in the scale.) The lowest combination is G-D (1-5), second lowest is B-D (3-5), and the highest is B-G (3-1). A fourth doublestop, D-G (5-1) can be created using the optional fingering for the D-note.

MIDDLE G DOUBLESTOPS

1. Ascend the G arpeggio upon strings three and two, D-G-B-D (5-1-3-5), continuously until fluent. Then descend the arpeggio, D-B-G-D. The doublestops on these two strings are derived from this arpeggio.

2. Practice all doublestops. The lowest combination on these strings is D-B (5-3), second lowest is G-B (1-3), and the highest is G-D (1-5).

HIGH G DOUBLESTOPS

1. Ascend the G arpeggio upon strings two and one, B-D-G-B (3-5-1-3), continuously until fluent. Then descend the arpeggio. The doublestops on these two strings are derived from this arpeggio.

2. Practice all doublestops. The lowest combination on these strings is B-G (3-1), second lowest is D-G (5-1), and the highest is D-B (5-3).

When you have completed the doublestop study for G go to CHORDS and complete the exercise below the diagram of each G chord. For each string write the note being played and the voicing of that string in context to the chord. (See the F-chord for sample of completed exercise.) If you are unfamiliar with the names of the notes on the mandolin you may refer to the chart below.

SAME VOICING-SAME SHAPE

There are six possible voicings of doublestops for a triad. The lower note is always given first. They are 1-3, 1-5, 3-5, 3-1, 5-1, and 5-3.

Common voicings will always be the same physical shape on the mandolin. (In the G-chord study observe that both 1-5 doublestops are the same shape, as are both 3-1's, 5-1's, and 5-3's.) This is true regardless of the chord.

THE D-CHORD

The fifth chord in the key of G is D major. It is spelled D(1)-F#(3)-A(5).

NOTE: Strings 3-2-1 of the D arpeggio form the identical fingering pattern as strings 4-3-2 of the G arpeggio and is also the same voicing (1-3-5-1-3-5). (Three-fourths of the fingering for the G arpeggio transposes to the D chord and all numerical knowledge transposes with it.) This "scrolling" effect is an important strategy for learning the mandolin. (See LEARNING STRATEGY .)

LOW D DOUBLESTOPS

1. Ascend and descend the D arpeggio upon strings four and three, A-D-F# (5-1-3), continuously until fluent.

2. Practice all doublestops. The lowest combination is A-D (5-1), second lowest is A-F# (5-3), and the highest (use optional fingering for D) is D-F# (1-3).

MIDDLE D DOUBLESTOPS

1. Ascend the D arpeggio upon strings three and two, D-F#-A-D (1-3-5-1), continuously until fluent. Then descend the arpeggio. (This pattern is identical to the G arpeggio on strings four and three.)

2. Practice all doublestops. The lowest is D-A (1-5), second lowest is F#-A (3-5), and the highest is F#-D (3-1). A fourth doublestop, A-D (5-1) can be created using the optional fingering for the A-note. (These doublestop voicings are identical to the G doublestop voicings on strings four and three.)

HIGH D DOUBLESTOPS

1. Ascend the D arpeggio upon strings two and one, A-D-F#-A (5-1-3-5), continuously until fluent. Then descend the arpeggio. (This pattern is identical to the G arpeggio on strings three and two.)

2. Practice all doublestops. The lowest combination is A-F# (5-3), second lowest is D-F# (1-3), and the highest is D-A (1-5). (These doublestop voicings are identical to the three G doublestop voicings on strings three and two.)

When you have completed the doublestop study for D major go to CHORDS and complete the exercise below each D chords. For each string write the name of the note being played and the voicing of that string in context to the chord.

CHANGING FROM THE G(1)-CHORD TO THE D(5)-CHORD

Playing doublestops is like two singers singing harmony. (This study will also help for singing arrangements.*) Good sounding doublestop changes are the result of certain rules of harmony--avoid leaps of large intervals and use common connecting notes.**

* A systematic study of three- and four-part choral harmony called "voice leading" is often an involved subject of college music theory courses.

** An exception to these rules is when you create doublestop melodies which often make large interval leaps.

A good preparation for each of the following back-ups (low, middle, and high) is to play the arpeggios on the strings being used, first the G arpeggio then the D arpeggio (ascending and descending), repeating the change until fluent. (Observe that both chords contain a D-note.)

LOW BACK-UP (Using only strings four and three)

Since there are three each of the G and D doublestops on strings four and three, many combinations of changes exist. Following are all the possibilities when changing from a G doublestop to a D doublestop, from the lowest combination to the highest. (The changes that most closely follow the rules of harmony are in bold type.)

G-D (1-5)/A-D (5-1)     G-D (1-5)/A-F# (5-3)     G-D (1-5)/D-F# (1-3)

B-D (3-5)/A-D (5-1)     B-D (3-5)/A-F# (5-3)     B-D (3-5)/D-F# (1-3)

 B-G (3-1)/A-D (5-1)     B-G (3-1)/A-F# (5-3)     B-G (3-1)/D-F# (1-3)

You certainly don't have to use all of the changes, rather it is the system of learning and understanding doublestops that is important. Once you learn the procedure you can apply it to other chords.

The more you play back-up using doublestops the more you will develop the discretion as to which combinations to use. (If you haven't already noticed, a 1-5 or 5-1 voicing sounds "hollow" while any doublestop that contains the third is "sweet".) Because there are so many combinations of doublestops this type of back-up is an art in itself, one which can become very creative when you start to add passing tones (scale notes not in the chord) and vary the rhythm. Also, good back-up can evolve into good improvising. (See TYPES OF BACK-UP .)

MIDDLE BACK-UP (Using only strings three and two)

Again there are three each of the G and D doublestops on strings three and two, so nine combinations of changes exist. Here are all the possibilities of changes on strings three and two, from the lowest combination to the highest.

D-B (5-3)/D-A (1-5)      D-B (5-3)/F#-A (3-5)     D-B (5-3)/F#-D (3-1)

G-B (1-3)/D-A (1-5)      G-B (1-3)/F#-A (3-5)     G-B (1-3)/F#-D (3-1)

G-D (1-5)/D-A (1-5)      G-D (1-5)/F#-A (3-5)     G-D (1-5)/F#-D (3-1)

HIGH BACK-UP (Using only strings two and one)
Here are the nine possibilities of changes on strings two and one, from the lowest combination to the highest.

B-G (3-1)/A-F# (5-3)     B-G (3-1)/D-F# (1-3)     B-G (3-1)/D-A (1-5)

 D-G (5-1)/A-F# (5-3)     D-G (5-1)/D-F# (1-3)     D-G (5-1)/D-A (1-5)

 D-B (5-3)/A-F# (5-3)     D-B (5-3)/D-F# (1-3)     D-B (5-3)/D-A (1-5)

After you learn this method of doublestops (low-middle-high) the next step would be to make transitions from one pair of strings to another within the same progression.

THE C-CHORD

The fourth chord in the key of G is C major. It is spelled C(1)-E(3)-G(5).

NOTE: Strings 4-3-2 of the C arpeggio form the identical fingering pattern as strings 3-2-1 of the G arpeggio and is also the same voicing (5-1-3-5-1-3). (Three-fourths of the fingering for the G arpeggio transposes to the C chord and all numerical knowledge transposes with it.)

Practice the C chord using the same procedure as the previous chords. First ascend and descend the arpeggio on a pair of strings then play the doublestops. (Observe that both chords contain a G-note.)

LOW DOUBLESTOPS: Strings four and three of the C-chord create the identical fingering pattern and voicing (5-1-3-5) as strings three and two of the G-chord. Therefore all doublestops will have the same voicing.

MIDDLE DOUBLESTOPS: Strings three and two of the C-chord create the identical fingering pattern and voicing (3-5-1-3) as strings two and one of the G-chord, and will also have the same doublestop voicings. (Use the optional fingering for the E-note.)

HIGH DOUBLESTOPS: Strings one and two of the C chord create a different pattern. Ascend the arpeggio, C-E-G (1-3-5), then descend. You may also include the optional fingering for E. Then practice the doublestops C-E (1-3), C-G (1-5), and E-G (3-5).

When you have completed the doublestop study for C major go to CHORDS and complete the exercise below the C chord diagrams.

CHANGING FROM THE G(1)-CHORD TO THE C(4)-CHORD

To prepare for each back-up play the arpeggios on the specific pair of strings, first the G arpeggio then the C arpeggio (ascending and descending), repeating until fluent.

LOW BACK-UP (Strings four and three)

     G-D (1-5)/G-E (5-3)     G-D (1-5)/C-E (1-3)     G-D (1-5)/C-G (1-5)

     B-D (3-5)/G-E (5-3)     B-D (3-5)/C-E (1-3)     B-D (3-5)/C-G (1-5)

     B-G (3-1)/G-E (5-3)     B-G (3-1)/C-E (1-3)     B-G (3-1)/C-G (1-5)

MIDDLE BACK-UP (Strings three and two)

D-B (5-3)/E-C (3-1)      D-B (5-3)/G-C (5-1)      D-B (5-3)/G-E (5-3)

G-B (1-3)/E-C (3-1)      G-B (1-3)/G-C (5-1)      G-B (1-3)/G-E (5-3)

 G-D (1-5)/E-C (3-1)      G-D (1-5)/G-C (5-1)      G-D (1-5)/G-E (5-3)

HIGH BACK-UP (Strings two and one)

B-G (3-1)/C-E (1-3)     B-G (3-1)/C-G (1-5)     B-G (3-1)/E-G (3-5)

D-G (5-1)/C-E (1-3)     D-G (5-1)/C-G (1-5)     D-G (5-1)/E-G (3-5)
 
D-B (5-3)/C-E (1-3)     D-B (5-3)/C-G (1-5)     D-B (5-3)/E-G (3-5)

CHANGING FROM THE C(4)-CHORD TO THE D(5)-CHORD

To prepare for each back-up play the arpeggios on the specific pair of strings, first the C arpeggio then the D arpeggio (ascending and descending), repeating until fluent.

LOW BACK-UP

G-E (5-3)/A-D (5-1)     G-E (5-3)/A-F# (5-3)     G-E (5-3)/D-F# (1-3)

C-E (1-3)/A-D (5-1)     C-E (1-3)/A-F# (5-3)     C-E (1-3)/D-F# (1-3)
  
C-G (1-5)/A-D (5-1)     C-G (1-5)/A-F# (5-3)     C-G (1-5)/D-F# (1-3)

MIDDLE BACK-UP

E-C (3-1)/D-A (1-5)     E-C (3-1)/F#-A (3-5)     E-C (3-1)/F#-D (3-1)
  
G-C (5-1)/D-A (1-5)     G-C (5-1)/F#-A (3-5)     G-C (5-1)/F#-D (3-1)

 G-E (5-3)/D-A (1-5)     G-E (5-3)/F#-A (3-5)     G-E (5-3)/F#-D (3-1)

HIGH BACK-UP

C-E (1-3)/A-F# (5-3)     C-E (1-3)/D-F# (1-3)     C-E (1-3)/D-A (1-5)

C-G (1-5)/A-F# (5-3)     C-G (1-5)/D-F# (1-3)     C-G (1-5)/D-A (1-5)


E-G (3-5)/A-F# (5-3)     E-G (3-5)/D-F# (1-3)     E-G (3-5)/D-A (1-5)

Once you have mastered the system of doublestops on these three chords and are able to think of them in musical terms learning other chords will be easier.

TYPES OF BACK-UP PLAYING

OPEN CHORDING

Use open chords with the "boom-chucka" rhythm (down-down-up) to simulate the open texture of a guitar. (Use a soft stroke to avoid harshness.) This is often heard in country and old-time music. (I sometimes use this to back up a guitar break when there is no other guitar player to fill in the texture.)

CHUNKS

The primary rhythmic function of the mandolin in bluegrass is to play on the "off-beat" (beats two and four in 4/4 time), opposite the bass which plays upon the "on-beat" (beats one and three). These are percussive down-strokes of closed chords on beats two and four of the measure (or beats two and three of songs in 3/4 time). Muting is attained by releasing pressure of the left hand. Banjo players and fiddlers also sometimes do this. Chunks are used when you don't want to intrude on the vocals or instruments that are being featured.

SWING

Simulate a swing guitar with closed chords by playing down-strokes on each beat, accentuating the down-beats (beats one and three). A long-short-long-short sound is achieved by quickly muting the sustain of the off-beats (beats two and four) by releasing pressure of the left hand.

TREMOLOS

This method utilizes doublestops while literally moving the pick as fast as you can. (Keep a loose wrist.) This creates a texture like that of two voices singing background "oohs" and "ahs" and is very effective in slow songs.

SHUFFLES

Shuffles are usually played by fiddlers but can also be done on the mandolin using doublestops. There are several types of shuffles, the most common being the "potato shuffle" (one-tato two-tato, picked down down-up down down-up). In guitar lingo it's boom-chucka boom-chucka. The timing of this would be counted "one-twoand-three-fourand", or a quarter note followed by two eighth notes, etc.

CROSS-PICKING

This style simulates the texture of the banjo (three-note rolls). Rolls are played with the flatpick across three adjacent strings. On the mandolin and fiddle these are called triple stops . Voicing of the changes can be taken into consideration to always include a 1-3-5 for each chord.

CREATIVE

This is the most advanced form of back-up playing. In the arrangements of most bluegrass or country tunes, each instrument is usually featured at least once playing a creative (improvisational) back-up behind a vocal verse. A general rule is to play simple during the vocals and to play more creatively during the vocal pauses. Creative back-up may also be used while backing up instrumentals, however, always remember to play a supporting role and not overshadow the featured instrument.

THE NUMBER SYSTEM

The number system is often used to write chord progressions but more importantly it is used to think of chord progressions in context to the key in which you are playing. The number system is also the medium for which songs are transposed. Here is a chart for all chords in the four most popular keys.*

	1	2m	3m	4	5	6m	57
(0 sharps)	C	Dm	Em	F	G	Am	G7
(1 sharp)	G	Am	Bm	C	D	Em	D7
(2 sharps)	D	Em	F#m	G	A	Bm	A7
(3 sharps)	A	Bm	C#m	D	E	F#m	E7

* It is not the intention of this course to explain all of the theory in the above chart as it is too involved. For a complete integrated understanding of musical concepts I suggest the KEYWHEEL Music Theory System , a self-taught course designed for chordal and improvisational musicians. (Reading music is not required.) It is available for $40.00 from Music Potential, 4032 N. Whitman, Tacoma WA 98407.

LEARNING STRATEGY

A scrolling of scale patterns occurs on the mandolin allowing for immediate transposing of knowledge from one key to the next. The order of keys is by intervals of fifths* (the mandolin is tuned in fifths).

     C (no sharps)     G (1 sharp)     D (2 sharps)     A (3 sharps)

Three strings of C transpose to G (and vice versa), three strings of G transpose to D (and vice versa), and three strings of D transpose to A (and vice versa). All arpeggios and doublestops transpose along with the scale.

* There was a pragmatic reason for starting this study with the key of G instead of C. The key of G transposes to both the keys of C and D and is the most popular key for bluegrass, old-time, and country music. Also, G is lowest note on the mandolin and allows for two complete octaves of the major scale.

THE KEY OF C

Following is a diagram of the C major scale in first position. Half steps are between E-F (3-4) and B-C (7-8). Strings 4-3-2 create the same pattern as strings 3-2-1 of the G major scale. One complete scale is contained in this position. Practice it in two identically fingered halves, C-D-E-F and G-A-B-C, ascending and descending. Then practice the remaining fragments.

To complete the trio of major chords in the key of C here is a diagram of the fourth chord, F major. Strings 4, 3, and 2 of F major create the same fingering pattern, voicing (3-5-1-3-5), and doublestop voicings as strings 3, 2, and 1 of C major. Complete the low and middle doublestop voicings on the lines to the right of the diagram.

Go to CHORDS and practice the fingering variations of F. Do the voicing exercise below each diagram.

THE KEY OF D

Following is a diagram of the D major scale in first position. Half steps are between F#-G (3-4) and C#-D (7-8). Strings 3-2-1 create the same pattern as strings 4-3-2 of the G major scale. One complete scale is contained in this position. Practice it in two identically fingered halves, D-E-F#-G and A-B-C#-D, ascending and descending. Then practice the remaining fragments.

To complete the trio of major chords in the key of D here is a diagram of the fifth chord, A major. Strings 3-2-1 of A major create the same pattern, voicing (5-1-3-5-1), and doublestops as strings 4-3-2 of D major. Complete the middle and high doublestop voicings on the lines to the right of the diagram.

Go to CHORDS and practice the fingering variations of A. Do the voicing exercise below each diagram.

THE KEY OF A

Following is a diagram of two A major scales in first position. Half steps are between C#-D (3-4) and G#-A (7-8). Strings 3-2-1 create the same pattern as strings 4-3-2 of the D major scale. Practice each scale (low and high) in two identically fingered halves, A-B-C#-D and E-F#-G#-A, ascending and descending.

To complete the trio of major chords in the key of A here is the fifth chord, E major. Strings 3, 2, and 1 of the E major triad create the same pattern, voicing (1-3-5-1-3-5), and doublestops as strings 4, 3, and 2 of A major. Write the doublestop voicings on the lines.

Go to CHORDS and practice the fingering variations of E. Do the voicing exercise below each diagram.

DOMINANT SEVENTH CHORDS

Seventh chords naturally occur as an option on the fifth (dominant) chord of a key*. However, I will include the seventh chord spellings for all major triads we have so far discussed. They are the same as the major chords, but with an added note which may be penciled in on the existing arpeggio and chord diagrams. The seventh occurs one whole step below the root and adds a "bluesy" flavor to the chord.

F7 (F-A-C-Eb)    C7 (C-E-G-Bb)    G7 (G-B-D-F)
              

 D7 (D-F#-A-C)    A7 (A-C#-E-G)         E7 (E-G#-B-D)

* 17 and 47 chords require the use of an accidental (note not in the key) and are used extensively in blues and traditional bluegrass.

One reason for knowing music theory is so you can teach yourself. Put this new knowledge to use by figuring out how to play seventh chords. Write in sevenths for each major chord in the chord section. Then re-strategize the fingering to include a seventh in each variation. (Note: On some variations it may be practical to exclude the first or fourth string.) Sevenths can also be added to the arpeggios which also creates new possibilities for doublestops.

MINOR CHORDS

You need only learn six minor chords to complete your chord study in the four popular keys (C, G, D, and A). Use the following diagrams to chart the minor arpeggios which you may practice in any order or as you encounter the chords in songs. Minor chord fingerings on are located in the chord section. (As you learn each chord do the voicing exercise below each diagram.) NOTE: In relationship to a major chord the third is lowered one half step. (So if you already know D just lower the F# to F for Dm.)

D minor (D-F-A) (2m in the Key of C)

A minor (A-C-E) (6m in the Key of C, 2m in the key of G) Strings 3-2-1 are the same pattern as strings 4-3-2 of Dm.

E minor (E-G-B) (3m in the Key of C, 6m in the key of G, 2m in the key of D) Strings 3-2-1 are the same pattern as strings 4-3-2 of Am.

B minor (B-D-F#) (3m in the Key of G, 6m in the key of D, 2m in the key of A) Strings 3-2-1 are the same pattern as strings 4-3-2 of Em.

F# minor (F#-A-C#) (3m in the Key of D, 6m in the key of A) Strings 3-2-1 are the same pattern as strings 4-3-2 of Bm.

C#minor (C#-E-G#) (3m in the key of A) Strings 3-2-1 are the same pattern as strings 4-3-2 of F#m.

CHORDS

Below are all of the chords that will enable you to play in the four most popular keys (C, G, D, and A). They are presented in order of the circle of fifths (F-C-G-D-A-E, and Dm-Am-Em-Bm-F#m-C#m).

Four versions of each chord are shown. The first will always be an "open" version, one that contains an open (unfingered) string. The remaining versions will proceed up the fretboard.

In the spaces provided under each chord write in the voicing of the chord, that is, the names of the notes on each string and the number it occupies in the chord (1, 3, or 5). The F-chord is done for you.

F Major

The F major chord is spelled F-A-C. In the open version the second string is shown as 0. The (X) on versions two and four indicates a muted string. Optional notes are also given for that string. The small numbers in parentheses to the left of versions two and three indicate the fret number.