1. No category

Simple 2 Finger Mandolin Chords for a I, IV, V Progression
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A Chord
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C Chord
B Chord
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D Chord
5
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E Chord
F Chord
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1
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C
G Chord
2
The I or the D chord uses the
2nd and 3rd strings.
C
2
3
F
Dm
D7
E
B
F
C G
C
G
D A
D
A
E B
A
The IV or G chord uses the
1st and 2nd strings.
3
D
D
E
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B
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produce the three basic
positions for each chord;
major, 7th and the minor.
1st Fret
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D
I or D Chord
The V or A chord uses the
3rd and 4th strings.
B
IV or G Chord
1st Fret
The star is your root note or the
name of the chord. Using these
basic shapes you can move up
and down and across the fret
board to produce your chords.
E
2
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A Chord
B Chord
C Chord
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These positions can be
repeated in many places.
2
3
D Chord
1
1
F
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V or A Chord
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E Chord
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G Chord
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Sample Chords from the Essential Chords, Guitar, Mandolin, Ukulele &
Banjo Fingering Charts book from AcousticMusicTV.com
3
A
A7
Am
www.acousticmusictv.com
© Copyright Bruce92
Jones Design Inc. 2009
12th Fret
G
D
A E
12 Essential Jazz/Swing Chords
Cmaj7
C#dim7
Am7
Bbmaj6
x
Dm7
G7
C9
Gmaj6
x
x
D7
Fmaj7
x
D+
C13-9
x
3
Copyright Mandolin Cafe • http://www.mandolincafe.com
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mandolin scale tabs
C major
A minor
4
&4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
A
B
5
7
9 10
5
7
9 10
9
7
5
10
9
7
œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
œ
5
2
4
5
2
7
3
5
7
5
3
2
7
5
4
2
œ
œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œ œ œ œ
& œ œ œ œ œ œ
œ ˙
C major
T
A
B
5
7
9
5
10
7
9
5
10
7
8
10
5
7
8
7
5
10
8
7
T
A
B
5
10
9
7
5
2
4
5
7
3
5
7
2
3
5
7
1
3
5
3
1
œ œ œ œ œ œ œ œ
&b œ œ œ œ œ
œ œ
10
9
7
3
5
7
8
3
5
7
8
7
5
3
8
7
5
5
3
2
7
5
3
2
7
5
4
0
2
3
5
0
1
3
5
3
1
0
5
3
2
2
œ
œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œ œ œ œ œ
œ
&b œ œ œ œ œ
œ ˙
10 12 14 15
10 12 14 15
10 12 13 15
10 12 13 12
10
15 13 12 10
10
T
A
B
15 14 12 10
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ
œ
œ
œ
œ œ œ ˙
œ œ œ œ
7
9
10 12
7
8
10 12
7
8
10 12
6
8
10
8
6
12 10
8
7
12 10
8
7
12 10
9
2
4
0
5
2
4
5
4
2
0
5
4
2
2
0
œ œ œ œ
œ œ œ œ œ
œ
œ
œ
œ œ œ œ
#
G major
&
0
#
2
4
0
5
2
4
0
5
2
3
0
5
2
3
E minor
4
5
2
7
3
5
7
5
3
2
7
5
4
2
œ œ œ œ œ
œ œ œ œ
œ œ œ ˙
2
0
5
3
2
0
5
4
2
0
5
4
2
0
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ œ œ œ œ
œ œ
œ œ œ œ
˙
9
0
&b
b
T
A
B
9
11 12 14
9
10 12 14
8
10 12 14
10 12 10
œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
œ
3
b
5
7
8
3
5
7
8
7
5
3
8
7
5
8
&b
T
A
B
&b
b
T
A
B
5
7
8
3
5
7
8
3
5
6
8
3
3
5
9
14 12 10
9
14 12 11
9
G minor
0
2
œ
œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ œ œ œ
3
14 12 10
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ
6
3
5
0
1
3
5
3
1
œ œ œ œ œ
œ œ œ
Bb major
G minor
15 14 12
D minor
&b
0
Bb major
F major
T
A
B
œ œ œ œ œ œ œ œ
œ œ
œ œ œ œ œ
T
A
B
T
A
B
D minor
3
&
&
5
œ œ œ œ œ œ œ œ
œ œ
œ œ œ œ œ
F major
T
A
B
7
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ
E minor
œ œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ
œ
œ
œ
œ
œ œ œ œ ˙
œ œ œ œ
2
#
T
A
B
A minor
&
mandolin scale tabs
G major
5
3
8
6
5
3
8
7
0
5
3
2
œ œ œ œ
˙
5
3
8
7
5
3
œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œ œ œ œ œ
œ œ
œ ˙
œ œ œ œ
0
2
3
5
0
1
3
5
0
1
3
5
6
1
3
7
2
1
6
5
3
1
7
5
3
1
7
5
3
2
0
0
##
D major
&
T
A
B
œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
œ
0
##
D major
&
mandolin scale tabs
T
A
B
2
4
5
0
2
4
5
4
2
0
5
4
2
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ
0
4
6
7
9
4
5
7
9
7
5
4
9
7
6
œ œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ
œ
œ
œ
œ
œ
œ œ œ œ
œ œ œ œ
˙
7
9
11 12
7
9
11 12
7
9
10 12
7
9
10
9
7
##
œ œ œ œ œ œ
œ
œ
œ
&
œ œ œ
œ œ œ œ
4
6
7
9
4
5
7
9
4
5
7
3
9
5
7
5
b
œ œ œ œ œ œ
&bb œ œ œ œ œ œ
œ œ œ
1
3
5
6
1
3
5
6
5
3
1
6
5
3
9
7
12 11
9
7
12 11
9
3
9
7
5
4
9
7
5
4
9
7
6
Ionian Mandology
Repeat signs are not arbitrary. Repeat the selections within
these bars as often as you need to make them comfortable. You can't overplay them!
T
A
B
4
4
3
5 7
2 3
b
&bb
C minor
T
A
B
8
10 12 13
8 10 12 13
8
10 11 13
7
8
10
5
6
8
10
5
6
8
10
5
2
7
3 2 5 3 7
5
2
7
3 2 5 3
7
4
4
5
3
7
2
4
5 7 3 5 2
3
7
4
2
2
5 7
5
5 7
2 3
2 3 5 7
5 3 2
7 5 3 2
7
5
2 5
2 3 2
5 2
4
5
7
8
10
5
6
8
10
8
6
5
10
5
10
8
7
8
5
3
2 5 7
7 5 2
7
3 5 3
3 7
15
13 11 10
8
13 12 10
8
13 12 10
8
8
6
4
10
8
6
5
10
8
6
5
10 8
7
5
7 3
7
4
4
3 5
2 5 2
5 3
2 3
5 3 2
7 5 3 2
7
4
4
15
3
7
4
5 2 7 3
4
2
5
3
7
5 2 7 5
7 2 5
5
7
3
5
2
3
4
7 2 5
7
20
3
3
5
5
5 7
2 3 57
23
4
4
4
20
5 3 2
7 5 3 2
7
5 7
2 3
3 2
7 5
5 7
2 3
3 2
7 5
3 2
2 3
7 5
5 3
3 2
2 3
7 5
5 3
25
Use the "home" pattern (straight
major scale) as kind of mental
"rest area"so that you can run on
"autopilot" and think about what
you're doing in the harder sections.
25
3
2 3 5 7
5 7
4
5
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œ œ œ œ ˙
œ œ œ œ œ
5
7
4
C minor
1
6
7 5 3 2
4
5
œ œ œ œ œ œ œ œ
œ œ
œ œ œ œ œ
10 11 10
4
5 3 2
4
4
4
7
œ œ œ œ œ œ œ œ
œ œ œ œ
œ œ œ œ
bb
œ
œ
œ
b
œ
œ œ œ œ ˙
& œ œ œ œ
8
4
2 3 5 7
Eb major
T
A
B
3r d C, C#, G, Ab
FFcP
Major Scale Studies (Ionian Mode):
Starting on the 3rd Finger
10
Eb major
T
A
B
12 10
4
œ œ œ œ
œ œ œ œ œ
œ œ œ ˙
B minor
T
A
B
B minor
5 7
2 3 5 7
2 3
5
3
2
7
5
3
2
7
5
www.jazzmando.com
Ionian Mandology
Ionian Mandology
Major Scale Studies (Ionian Mode):
Starting on the 2nd Finger
2nd Bb, B, F, F#
FFcP
Now we're going to move everything down two Frets.
It's the same major scale, but we'll start it with the 2nd finger.
Major Scale Studies (Ionian Mode):
Starting on the 1st Finger
1st Ab, A, Eb, E
3
FFcP
Down two more Frets. Again, same major scale, but we'll start it with the 1st finger.
Note: you'll be using the same fingering for A major, But this gives you more "stretch!!
55
28
28
2
4
3 4
3 5 7
1357
4
1 31
7531
7 5
3 7 5
1
7
4
4
4
4
4
315 375
1
7
55
4
31
1
5
4
573513
4
4
1
7
1356
13 5 6
1
6 5 31
653
15365
1
6
3 1 5 3 6 5
1
6 3
6 3 5 13
6
1
5
63 5135 1
5 7 3 5 7 3
61
34
34
3 5 7
1
1357
31
7531
7 5
3 7
4
4
4
3 7
1
73
4
4
7
3 7
1
3 5
53
7
5
1 5
1 3 1
5 1
5
137
61
4
4
4
3
1356
731
1
13 5 6
6 5 31
1 5 6 5 1
653
15
653
163
5 15
13 6 31
5
3 6
36
1
6 3
6 36
15
1
51
6
67
40
40
4
4
4
3 5 7
13 57
4
1
3 1
7 53 1
7 5
3
1
3
5
7
517
67
4
4
4
4
4
3
1
5
3
7
5 3
3
5
3
7
5
1
3 7 1
5
7
3
5
1
1
3
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6 5 31
1
5
3
6
5
163
1
5
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1
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5
1
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3
5
1
361
6 1
3
73
46
4
4
46
3 5 7
1357
1
31
7531
7 5
3 5 7
1
1
753
3 5 7
1
1
753
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7
7
73
4
4 4
4
4
4
1
5 3
3 1
1
7
7
1
53
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13 5 6
1
6 5 31
653
13 56
6 5 3 1
1356
79
52
52
3 5 7
1 3 5 7
1
3
1
7
5
3
1
7
5
3
You might not be used to
voicing patterns in intervals of
4ths, but this is good for your
ear and foreign to the mandolin.
It will give you an "edgier,"
contemporary sound to your
improvisation.
79
1 3 5 6
1 3 5 6
1
6 5 3 1
6 5 3
1
6 5 31
65
5 6 31
1
6
6 5
5 6 31
1
6
n the chord tone (I vi7 ii7 V7)
and "guide tone" section, think
music theory. Engage your brain
in analyzing the
scale degrees, so when you
apply these patterns to
improvisation, you're able to
consciously define the scale
degrees.
Ionian Mandology
4th D, Db, A, Ab
FFcP
Major Scale Studies (Ionian Mode):
Starting on the 4th Finger
Let's give that pinky a REAL workout! This may be a new way to do a D scale,
but learn this, and only one fret up gives you the base for a C# scale!
82
7
4
4
4
2457
245 7542
7542
7
4
4
4
1
4
82
RALPH’S BASIC MANDOLIN TIPS
4
4
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7
88
7
2
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2 4 5 7
2 4 5
7 5 4 2
7 5 4 2
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2 5
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7
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2 4 5
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7 5 4 2
7
5 2 7 4
2
5
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5 2 7 4
2
7
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2 4 5
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7 5 4 2
7
7
4 7 2 5
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4
5
2
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4
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4 4
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7
5 4
4 5 2
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7 5
54
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7
75
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2 4 5
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4
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7
Extra Credit:
Move all four exercises up a
string, and do the keys of G, F, Eb,
and A. The fingering is identical!
Move everything up one fret, and do
the keys of C#, B, A, and Eb
I’m just a mediocre mandolin player. However, I do know how to move around the
fretboard pretty well for chord changes and improvising in jams. Sometimes a beginner
level player will ask me about what I’m doing. These are the “rules” I use when jamming.
About the only things you need to know to apply these are:
- What’s a 1, 4 and 5 chord
- How to find a specific note on the fretboard
If you have any comments or suggestions, email me at:
[email protected]
4
4
4
94
7
4
4
4 5 4
2 4
7
4
4
4
4
4
4
88
2/3/09 Ralph Goff
I - Chord Changes
For all these changes, keep your fingers in the same position (fret wise) and only change
strings. Works not only with full chords, but double stops and single notes also. You’ll
usually end up with an open string when you shift. To be safe, don’t strike it (although for
some chords it will be OK - try and see how it sounds). Even if you end up with a 2 note
“chord“, that’s OK. (Note: Letters in ( ) represent the 1, 4 and 5 chords in the key of G).
1 to 4
4 to 1
1 to 5
5 to 1
(G to C)
(C to G)
(G to D)
(D to G)
Shift one set of strings towards your head
Shift one set of strings towards your feet
Shift one set of strings towards your feet
Shift one set of strings towards your head
For this one, stay on the same strings and change frets
4 to 5
5 to 4
(C to D)
(D to C)
Two frets higher
Two frets lower
II - Basic Pentatonic Scale
This scale can be used in improvising over chord changes in bluegrass and country,
particularly. Once you memorize it and know where to find the “root note” of a chord
(R1 in the figure below) on the fretboard, you can play in any key! Just with this simple
pattern and some judicious “jumping around” (i.e., don’t always play notes in sequence)
you can do some good sounding improvising. Also, many of the notes in a song melody
you’re trying to learn can be found in this pattern.
Example: The root note here (R1) is the G note, 3rd string, 5th fret. R2 is the root note an
octave above R1. The other numbers are the note numbers in the pentatonic scale.
pentatonic scale in section III. (Note: You might see some of these double stop names
used in other mandolin documents. I didn’t invent them).
!
!
!
!
!
!
!
!
Mini Double Stop:
!
!
!
!
3
!
!
!
!
'
!"'
#'
'
'
'
'
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'
$'
%'
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Bar Double Stop
'
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R
'
&'
'
'
'
'
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'
R
5
Short Double Stop
As you change chords in a song, then change where the root note lies for improvising over
that chord. E.g., if you switch to a D chord, then R1 is a D note. See rules in section I on
where the new root note will be in relation to the chord you’re currently playing.
R
5
Hint: Why not start another basic pentatonic scale at R2?
III - Expanded Pentatonic Scale
The same as the above, but with additional strings used. If R1 lies on other than the 3rd
string, not all additional strings shown are available (unless you have a highly unusual
mandolin).
Long Double Stop 1 (Little “r” denotes chord root note. Not part of double stop; for
reference only)
r
5
3
Long Double Stop 2
3
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#
2
5
$
%
3
6
&
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R
5
III - Double Stops
Double stops are 2 notes played at the same time on different strings. Usually they are 2
notes from a chord. Here are some basic double stop positions. They are always on
adjacent strings, so only 2 strings are shown here. Also, only the lowest fret used is
shown. Just find the root note “R” on the fretboard for the chord you are in and use the
relative spacing shown here. Look at a double stop and see how it fits into the expanded
When you’re in one chord, move to a 2nd or 3rd double stop position for a varied sound.
Play both notes at once, or alternate between them. Mix double stops in with single notes
of the pentatonic scale.
Now, apply section I to the double stops as the chord changes. Move “R” to a different
string (usually) or fret per the rules. E.g., in the key of G, when changing from G (the 1
chord) to D (the 5 chord), move your current R position one set of strings towards your
feet, but on the same fret as the G chord.
IV - Apply Rules OK, now memorize the above and impress you friends at the next jam. !