Found em...
might sound good with another called Snouts and Ears of America.
ha
On Jan 10, 3:14 pm, Linda wrote:
> Looking for the dots...
> A nice little tune.
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Looking for the dots...
A nice little tune.
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I thank yall for the advice and since I have a quiet weekend here I
can try em out.
The one thing from the article, that I need to try and pay more
attention to is ..
Mike says its best to learn a tune slow, then after a time speed it
up. I do that but feel an enormous pressure to be able to play
Here are some ideas for hitting both strings in a course. Lots of
folks have trouble with this at first.
If you're not sure if you are hitting both strings, tune one of them
quite a bit flat. Then play some sort of exercise on that pair. The
worse it sounds, the better you're picking. Try to make
Thanks for that link. It Don't Mean a Thing indeed.
On Sat, Jan 9, 2010 at 8:39 AM, Gathel Runnels wrote:
> Now that's music played from the heart and soul. It don't get better than
> that.
>
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Now that's music played from the heart and soul. It don't get better than
that.
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When it's going good... real good... I'll blow off everything to keep
it going. I try (in vain) to keep THAT in my muscle memory. Make THAT
my habit. Mike would probably say he does the same thing but his worst
days are still better than my best. He can be annoying in that way ;)
Playing back by t
Hello!
I've been a full time lurker for quite a while now, reading your posts
with great enthusiasm but never contributing myself. I'll try to make
a change and pull my share around here from now on...
My name is Oskar Nyman and I live in Sweden. I'm 34 years old, have
two small kids and I work a
I like the idea of the pencil eraser and will think on that some.
The Tater says I am only playing the top string of two sometimes. He
wants me to use the area just near the bridge more. I find it
difficult to push through...push the pick through the strings in that
spot. Am working on it.
So
Damn! It doesn't get any better than that! Is that bass player laying down a
groove or what??? Impossible to sit still while that's going on. The only
thing that could improve on that would be Jethro sitting in on the mando!
Bill in Nashville
On Fri, Jan 8, 2010 at 10:19 PM, erik berry wrote:
>
Maybe the mental image of striking both strings with equal force and
contemporaneously helps the process of digging in and keeping the pick
on the stringS. Many of us have the poor technique (myself included)
of catching just one string in a pair. That will give us half the
volume and half the tone
Hey Jonas,
I personally don't find the "doorknob" description useful. There's not
much turning in the wrist per se. And because I am immature, Mike's
use of the term "rubbing out" a note makes me giggle (I can't be alone
on this can I?). That being said, it is definitely useful.
I've been thinkin
'Picking' this up from the interview thread...
I think I get the notion of 'rubbing out the notes' with the pick as was
stated in the Mandolin Cafe interview with MC. I also get the pick grip, and
use it. I have also heard that the hand motion when picking the mandolin
should be as when turning a
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