Sample pages

154 Intermediate Mandolin
58 Chapter 6—Working Up the Neck
&
T
A
B
#
4
4
œ
œ
≥
œ
œ
≥
œ
œ
≤
‰
J
œ
œ
≤
œ
œ
≥
G
3
2
5
3
7
5
5
3
3
2
2
1
2
1
2
1
2
1
2
1
œ
œ
≥
œ
œn
≥
œ
œ
≤
‰
j
œ
œ
≤
œ
œ
≥
C
3
2
5
3
7
5
5
3
3
2
2
1
2
1
2
1
2
1
2
1
œ
œ#
≥
œ
œ
≥
œ
œ
≤
‰
J
œ
œ
≤
œ
œ
≥
D
5
4
7
5
9
7
7
5
5
4
2
1
2
1
2
1
2
1
2
1
&
T
A
B
#
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
m6 M6 M6 m6 m6 M6 M6 m6
3
2
5
3
7
5
8
7
10
9
12
10
14
12
15
14
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
Melody
Harmony
A WORLD TURNED UPSIDE-DOWN
A 6th is the inversion of a 3rd (for more on intervals and inversions, see page 82–87 of
Beginning Mandolin). In other words, a 6th is a 3rd turned upside-down. For example, G to B
is a major 3rd, while B to G is a minor 6th. When an interval is inverted, its quality (major or
minor) is changed. So, keep in mind that major 3rds invert to minor 6ths, and minor 3rds
invert to major 6ths. Here are fingerings for major 6ths (M6) and minor 6ths (m6).
Below is a G Major scale harmonized in 6ths. The cycle still relates to the diatonic cycle.
Now the roots are in the top voice, and the harmony is in the lower voice.
Harmonized 6ths have a more open, spread out sound than 3rds. Here is a move using
6ths that you can apply to any major chord. This is a very common sound on the mandolin.
It is reminiscent of the guitar lick used in the intro to Van Morrison’s “Brown Eyed Girl.”
Here it is shown for a G, C and D chord (
I, IV and V in the key of G).
LESSON 4: DOUBLE STOPS—6THS
1
1 2 1 2 1 2
2
3
4
5
6
7
1
2
3
4
5
6
7
1
2
3
4
5
6
7
Major 6ths (M6)
1
1 2 1 2 1 2
2
3
4
5
6
7
1
2
3
4
5
6
7
1
2
3
4
5
6
7
Minor 6ths (m6)
49
Track 50
50
pg 50-59 mm2.p65 12/22/2003, 2:23 PM58
59Chapter 6—Working Up the Neck
&
T
A
B
#
4
4
Swing 8ths
3
œ
≥ œ
≤
œ
≥
3
œ
≤
œ
≥ œ
≤
3
œ
≥
œ
≤
œ
≥
3
œ#
≤
œ#
≥
œ
≤
2
3
2
3
2
3
3
5
3 4
6
4
1 2 1 2 1 2 1 2 1 1 2 1
œ
œ
≥
œ
œ
≥
œ
œ
n
n
≥
œ
œ
≥
7
5
7
5
5
3
3
2
2
1
2
1
2
1
2
1
3
œ
≥
œ
≤
œ
≥
3
œ
≤
œ
≥
œ
≤
3
œn
≥
œ
≤
œ
≥
3
œ#
≤
œ#
≥
œ
≤
2
3
2
3
2
3
3
5
3 4
6
4
1 2 1 2 1 2 1 2 1 1 2 1
&
T
A
B
#
œ
œ
≥
œ
œ
≥
œ
œ
n
n
≥
œ
œ
≥
7
5
7
5
5
3
3
2
2
1
2
1
2
1
2
1
œ
≥
œ
≤
œ
≥
œ
≥
œ
≤
œ
≥
9
10
9 7
8
7
2 3 2 2 3 2
œ
≥
œ
≤
œ
≥
œ
≥
œ
≤
œ
≥
5
7
5 3
5
3
1 3 1 1 3 1
&
T
A
B
#
œ
≥
œ
œ
≥
œ
≤
œ
œ
≤
œ
≥
œ
SL
3 5
7
SL
5 3
5
SL
3 2
1 1 3 1 1 3 1 1
œ
≥
œ
≤
œ
≥
œ
≤
œ œ
œ
≥
3
5 2
5
( )
5 5
4
2 3 1 3 3
2
œ
œ
≥
œ
œ
≥
œ
œ
≤
œ
œ
œ
œ
≥
9
7
10
9
9
7
( )
( )
9
7
7
5
3
2
3
2
3
2
3
2
˙
˙
≥
˙
˙
˙
˙
≥
5
4
0
2
0
0
3
2
0
1
0
0
4
7
G6
MANDOHULA SUNSET
Track 51
This tune uses 6ths played both simultaneously and broken up to evoke Hawaiian music
and slide guitar. You will also slide 6ths from one position to another. This sound is also
common in country, bluegrass and gospel. Notice the cool G6 chord at the end.
FINGERING ALERT: Sometimes you must adjust your fingerings to make the music flow
better, or execute a move more comfortably. This exercise uses several ways of fingering the
6th shapes you have learned. Try them as written, or adapt your own fingerings to the TAB.
pg 50-59 mm2.p65 12/22/2003, 2:23 PM59
A WORLD TURNED UPSIDE-DOWN
A 6th is the inversion of a 3rd (for more on intervals and inversions, see pages 83–88). In
other words, a 6th is a 3rd turned upside-down. For example, G to B is a major 3rd, while B
to G is a minor 6th. When an interval is inverted, its quality (major or minor) is changed. So,
keep in mind that
major 3rds invert to minor 6ths, and minor 3rds invert to major 6ths. Here
are fingerings for major 6ths (M6) and minor 6ths (m6).
58 Chapter 6—Working Up the Neck
&
T
A
B
#
4
4
œ
œ
≥
œ
œ
≥
œ
œ
≤
‰
J
œ
œ
≤
œ
œ
≥
G
3
2
5
3
7
5
5
3
3
2
2
1
2
1
2
1
2
1
2
1
œ
œ
≥
œ
œn
≥
œ
œ
≤
‰
j
œ
œ
≤
œ
œ
≥
C
3
2
5
3
7
5
5
3
3
2
2
1
2
1
2
1
2
1
2
1
œ
œ#
≥
œ
œ
≥
œ
œ
≤
‰
J
œ
œ
≤
œ
œ
≥
D
5
4
7
5
9
7
7
5
5
4
2
1
2
1
2
1
2
1
2
1
&
T
A
B
#
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
m6 M6 M6 m6 m6 M6 M6 m6
3
2
5
3
7
5
8
7
10
9
12
10
14
12
15
14
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
Melody
Harmony
A WORLD TURNED UPSIDE-DOWN
A 6th is the inversion of a 3rd (for more on intervals and inversions, see page 82–87 of
Beginning Mandolin). In other words, a 6th is a 3rd turned upside-down. For example, G to B
is a major 3rd, while B to G is a minor 6th. When an interval is inverted, its quality (major or
minor) is changed. So, keep in mind that major 3rds invert to minor 6ths, and minor 3rds
invert to major 6ths. Here are fingerings for major 6ths (M6) and minor 6ths (m6).
Below is a G Major scale harmonized in 6ths. The cycle still relates to the diatonic cycle.
Now the roots are in the top voice, and the harmony is in the lower voice.
Harmonized 6ths have a more open, spread out sound than 3rds. Here is a move using
6ths that you can apply to any major chord. This is a very common sound on the mandolin.
It is reminiscent of the guitar lick used in the intro to Van Morrison’s “Brown Eyed Girl.”
Here it is shown for a G, C and D chord (
I, IV and V in the key of G).
LESSON 4: DOUBLE STOPS—6THS
1
1 2 1 2 1 2
2
3
4
5
6
7
1
2
3
4
5
6
7
1
2
3
4
5
6
7
Major 6ths (M6)
1
1 2 1 2 1 2
2
3
4
5
6
7
1
2
3
4
5
6
7
1
2
3
4
5
6
7
Minor 6ths (m6)
49
Track 50
50
pg 50-59 mm2.p65 12/22/2003, 2:23 PM58