This is a public version of the members-only Bluegrass Mandolin with Mike Marshall, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Bluegrass Mandolin with Mike Marshall.
Join Now

Beginner Mandolin
 ≡ 
Intermediate Mandolin
 ≡ 
Advanced Mandolin
 ≡ 
Additional Tunes & More
 ≡ 
Holiday Tunes
 ≡ 
Gear & Setup
 ≡ 
30 Day Challenge
 ≡ 
Lick of the Week
 ≡ 
Tune of the Week
 ≡ 
+Music
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Mandolin Lessons: Amazing Grace

Video Exchanges () submit video Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory Quizzes
information below Close
information below
Lesson Specific Downloads
Play Along Tracks
Close
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Mandolin
information below Close
Information
 ≡ 
Course Description
 ≡ 

This is only a preview of what you get when you take Mandolin Lessons at ArtistWorks. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
X
Log In
X
[MUSIC]
Alright, how 'bout a little Amazing Grace?
We're gonna do a cross picking version of
it here.
And most people have learned this tune in
3-4.
Amazing Grace, how sweet the sound.
[MUSIC]
Etc.
Etc.
But for this cross picking pattern, we're
going to do it in 2-4, and
it's gonna sound a little more like this.
[MUSIC]
Amazing grace, how sweet the sound.
[MUSIC]
So,
it gives it a little more of that
Bluegrass kinda two-beat feeling.
It enables us to keep this pattern, that
works so well for cross picking.
It's really the Jess, what I call the
Jesse McReynolds pattern.
Although, if you look historically at some
of the really early Baroque mandolin
players from the, you know, 200 years ago
or beyond, they
were exploring a lot of these, a lot of
these different string crossing patterns.
So go back and look at Denise and, and
Fraschetti, and
some of these early Baroque masters, and
you'll see some of these patterns show up.
So it's very nature thing to do on a
string instrument in whatever
genre you're talking about.
Everybody wants to be a banjo player,
right?
It's Is that what it is?
Hi Tony.
[LAUGH]
[MUSIC]
[MUSIC]
So, the pattern is.
[MUSIC]
I'm gonna break down the pattern for
you now and, and show you how it how it
breaks out.
So it's fourth string, second string,
third.
4, 2, 3, 4, 2, 3, 4, 2, 4, 2, 3, 4, 2, 3,
4, 2.
It's the same pattern we're using on
Worried Man Blues and
Boil Them Cabbage down.
I'm gonna forego the pick up notes.
[MUSIC]
I just start right on the D note
seventh fret.
[MUSIC]
[MUSIC]
So the way it works is the,
the D note is the melody and the E note
comes in on the end of the pattern.
[MUSIC]
So it's 4, 2,
3, 4, 2, 3, 4, 2 and it's at that 4,
2 that the E note is inserted, or eighth
fr, ninth fret.
7, 7, 9, 11, 11, 9, and again after the
11, the new pattern starts.
4, 2, 3, 4, 2, 3 and the 9 happens at the
4, 2.
[MUSIC]
So you got this 4, 2, 4, 2,
3, 4, 2, 3, and then, 4, 2, and at least
that's where the new note is.
So it's 7, 7, 9.
11, 11, sorry, 11, 11, 9.
Just on those last two notes.
Just to put a visual on it for you.
[MUSIC]
Now it goes to a G chord.
I'm gonna hold the seventh fret and fifth
fret on the fourth and
third and let the A string ring open.
[MUSIC]
And then I'm gonna play the fourth fret.
[MUSIC]
Keeping the fifth fret held down,
and then the second fret, and that's a D
chord there, so we let the E and
D and G, A ring open.
[MUSIC]
[MUSIC]
Amazing grace,
how sweet the sound.
There I played single notes.
In fact, probably how we ought to start
the tune.
[MUSIC]
I'm gonna play 1, 2 and
then I shift to 1, so that I'm ready to
play up the neck here.
[MUSIC]
Then I shift to 3 and 2, so
that the 1 is available to play that
fourth fret.
Here's where I shift over.
So the second phrase.
[MUSIC]
[MUSIC]
Like, the word like, and play the seventh
fret third string, and now I'm changing
the pattern to the third and
first and second string, and I'm holding
two notes of an A chord.
[MUSIC]
What grew out of the Bluegrass chop chord.
7, 4, O.
And now I'm gonna continue the pattern on
these top three strings,
but it's a D chord and I'm playing 7 and
5.
[MUSIC]
Then that's 4 and 5.
Still a D chord.
[MUSIC]
Now,
I am playing a G chord, but I am letting
the D string as a melody.
[MUSIC]
So, this is getting a little tricky.
Open D string is the melody and you're
holding a G chord for the upper notes.
And you play the 3, 1, 2, 3, 1, 2, but
here you play a B note on the fourth
string.
I like to reach over with my third finger,
so that these notes can keep ringing.
I don't like to lift that one off and run
over and grab that.
I'd rather jam the third finger in there.
[MUSIC]
Now we're back
to the low A note as the melody.
And so the pattern is gonna be 4, 2, 3,
shifting back to the other three strings.
[MUSIC]
And the tag.
[MUSIC]
[MUSIC]
So it's.
[MUSIC]
7, 11, 7.
That's a full pattern.
4, 2, 3, 4, 2, 3, 4, 2.
Now it's 9 and 5.
[MUSIC]
Because it's an A7 chord.
[MUSIC]
[MUSIC]
And it's 3, 2, 4, 2, 3, 4, 2, 3, 4, 2.
And that 4, 2 is shifting to a C sharp.
And then you end on the D.
[MUSIC]
The D is seventh fret and fourth fret.
[MUSIC]
[MUSIC]
Let me try to run the whole thing
nice and slow.
[MUSIC]
[MUSIC]
Again.
[MUSIC]
[MUSIC]
Okay.
So, sometimes we're simplifying
the melody so that we can keep it in this
cross-picking pattern.
There's not as many notes in the melody
as,
as what you might sing, but there's enough
there to give the listener that you're,
you're actually playing "Amazing Grace".
So have fun with these, and look forward
to seeing a submission from you.
Especially if you have any questions about
particulars on how this, how this works.
Alright? See you soon. [MUSIC]