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Mandolin Lessons: Jacob Do Bandolim

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[MUSIC]
All right, hello there friends.
I'm gonna show you a tune called Jacob Do
Bandolim, and
by now many of you probably know the
mandolinist, Jacob Do Bandolim.
But many years ago I wrote a tune, then
named it after him.
And it's not a choro, it's not a Brazilian
choro, it's my own tune, and
it's in 3-4, but I wouldn't call it a
waltz.
It's more of a fast three Latin kind of
groove.
The basic feel is.
[MUSIC]
Two, three, one, two, three, one, two,
three, one.
[MUSIC]
And its highly syncopated tune.
I recorded it with The Montreux Band that
I had for
many years on the Windham Hill label.
CD we did called Sign Language, and it may
have also appeared
on our retrospective CD that they put out
some years later.
So this is gonna be a little bit tricky.
Certainly, more on the advanced side of
things.
But, I thought I would record anyway.
It's got a couple of different sections.
The intro is a very simple melody.
[MUSIC]
It just walks up these notes,
then it comes right back down.
[MUSIC]
But I'm playing chords.
I'm playing a G-minor chord with an F on
top, and then an A-minor.
B-flat.
C sus.
D sus.
Let me show you the rhythmic feel.
One, two, one, two, three, four, five,
six.
[MUSIC]
Okay, that's the intro.
And then the A section will begin with the
melody.
So let me, breakdown that intro for
you, so you understand exactly what's
happening.
So it starts with a G-minor seven with an
F on top.
[MUSIC]
A-minor seven.
[MUSIC]
2-2-3-3.
B-flat major.
[MUSIC]
Major seven.
[MUSIC]
3-3-5-5, and then C sus.
[MUSIC]
And I play this 5-5-8-8.
[MUSIC]
And D sus, 7-7-11-11.
[MUSIC]
Back to C sus.
[MUSIC]
B-flat coming right back down A-minor,
G-minor.
Now I play an A7 with an open E string cuz
that's the melody.
I play 6-5-0-0.
And I play a G-minor here with a D note on
top, so
it's 3-5-5, so.
[MUSIC]
And then an A7 which is 2-5-4.
And then it all begins again.
And this is 6-8.
One, two, three, four, five, six, one,
two, three, four, five, six, one, two,
three, four, five, six, one, two, three,
four, five, six, one, two, three, four,
five, six, one, two, three, four, five,
six, one, two, three, four, five, six.
[MUSIC]
Again.
It happens twice.
[MUSIC]
Okay,
you can hear that melody on top right?
Then awhile, everybody plays in unison.
[MUSIC]
That's the line
that happens at the end of the intro that
everyone plays in unison.
F-F-G-E-G.
B-flat chord, A7 chord, D-minor chord.
Okay.
I believe we're harmonizing
that, that line.
So some people might be playing D, D, E,
C-sharp, D.
I think the bass player actually plays
that.
[MUSIC]
B-flat, C-sharp, D.
But he might even play G, A, D, okay?
[MUSIC]
And, and
the syncopation on this is one, two,
three, four, one.
[MUSIC]
Okay?
Very syncopated.
Two, three.
I'll do it again, one.
[MUSIC]
One, two.
[MUSIC]
So
a lot of this stuff happens after the
downbeat.
[MUSIC]
Now the melody begins.
And I'm gonna first play you the chords,
so you have a clearer idea of what the
feel is, rhythmically.
[MUSIC]
And
now is when we're into the three four that
I was talking about.
It's one, two, three, one, two, three,
one,
two, three, one, two, three, one, two
three.
[MUSIC]
One, two, three.
That's basically the A section.
It's a D-minor, E7,
A7, D-minor.
C, B-flat,
D-minor, E7, A7.
Now that E7 is an altered chord,
it can have a flat nine so that could be
7-6-8,
or it can also have a plus five which
would be down here.
1-0-3.
E7 plus five, and the A7 comes after it.
So those are the chords.
[MUSIC]
Now the melody.
I wonder if I can sing and play this.
[MUSIC]
Before going to the B.
So you can, you can hear how highly
syncopated that melody is.
I'll first give you the notes but
then I'm gonna play it with a click track
in a second so
you can see how I'm playing a lot of the
notes just before the down beats.
So here's the melody one, two, three.
[MUSIC]
So everything, everything is before the
beat, so the beat is here.
[SOUND]
[MUSIC]
So if you were to break that down.
[MUSIC]
The last 16ths, one, two, three,
four, one, two, three, four, one, two,
three, four,
it's the last 16ths before each of the
down beats.
It's a pretty complicated concept for
most people who grew up playing bluegrass,
for instance.
It's something that happens very commonly
in, in Latin music,
cuz it really grows out of the African
drumming tradition.
[MUSIC]
[MUSIC]
So you've got.
[MUSIC]
I'm, I'm accenting.
I'm singing loud the, the 16th before each
of those downbeats.
[MUSIC]
Let's put the click track on once and I'll
play along with that.
[MUSIC]
One, two, three, one, two, three.
[MUSIC]
Great, that's it.
So that's something you have to work on,
slower is better.
And it certainly helps if you have
somebody playing rhythm for
you to give you all those subdivisions.
Because if you have the.
[SOUND]
Going in the background,
it is easier to find that last 16th, and
sort of ride the groove.
It should feel very natural.
It's not something that should be academic
or, or feel goofy and, and
weirdly thought out too much.
Then we go to the B section.
The B section starts on a G minor chord.
[MUSIC]
And it ends.
[MUSIC]
With that same tag that we used in
the intro.
So, so the melody is very chromatic and
sort of descends down through this series
of chromatic.
[MUSIC]
Okay,
before I show you that, let's, let's
review the chords.
It's a G minor.
One, two, three.
[MUSIC]
F.
[MUSIC]
B minor, seven flat five,
B flat, G minor, D minor.
[MUSIC]
D7, A7.
[MUSIC]
Back to the top.
G minor.
[MUSIC]
F.
[MUSIC]
B minor, seven flat five, B flat.
G minor.
[MUSIC]
D minor.
[MUSIC]
E7.
[MUSIC]
A7.
[MUSIC]
Okay?
Now, reviewing the melody.
Starts on a C sharp.
[MUSIC]
And that melody has the same kind of
syncopation that the A section has.
This feeling of everything being up.
[MUSIC]
Those
are all before each of the downbeats.
[MUSIC]
I'm clapping the downbeats.
[MUSIC]
So you have to imagine.
[MUSIC]
One,
two, three, four, one, two, three, four,
one, two, three, four.
[MUSIC]
See what I'm doing, I'm,
I'm filling in those 16ths, it's very
important that you feel those 16ths.
And that you not just randomly place the,
the,
the notes where you think it might be, you
know.
That you're really feeling all of the
16ths, it's,
it's crucial to getting this stuff to, to
lay right.
So, so that section ends then like the
intro does with that same figure.
[MUSIC]
And then we simply improvise.
[MUSIC]
Over the A section.
[MUSIC]
And the B section.
[MUSIC]
I'm
playing the chords to the A section now.
[MUSIC]
And I'm imagining somebody.
[MUSIC]
Blowing over it.
[MUSIC]
C, D minor.
[MUSIC]
E7.
[MUSIC]
A7.
[MUSIC]
D minor, C, B flat.
[MUSIC]
D minor, E7, now we go to the bridge.
[MUSIC]
G minor, F.
[MUSIC]
B diminished or B half diminished.
G minor.
[MUSIC]
D minor, E7, A7.
Repeat all that.
G minor F.
[MUSIC]
B.
[MUSIC]
G minor, D minor, E7.
[MUSIC]
And they end with the 13ths.
[MUSIC]
This
finger keeps getting used after each
person's solos.
Its a way of tagging the end of a solo.
Next person solos.
On the same set of chords, D minor E7.
[MUSIC]
A7.
[MUSIC]
You'll notice my rhythm pattern here.
One, two, three, one, two.
[MUSIC]
One, two.
So it's one and two and three and one and
two and three.
I'm putting a strong accent on the third
downbeat.
[MUSIC]
One, two and, one and two and,
that's the first figure.
So there's actually a mute on the third
downbeat.
[SOUND] So it's one and two and, that's
the first figure.
One and two and, three.
One and two and, three.
[MUSIC]
Bridge.
[MUSIC]
Then the finger.
[MUSIC]
Okay,
let's assume now the last person has
soloed.
[MUSIC]
[MUSIC]
And
now we're going into the section we call
the lines.
Everyone in unison here.
And it starts this way.
Three and.
[MUSIC]
Okay, let's go over those.
I'll slow it way down.
It's like this.
One, two, three, four.
[MUSIC]
Let's just that much again.
So it's every, everything is up again.
Three, four, one.
[MUSIC]
Now this is in four, four.
One, two, three, four.
One and two and three and four and one and
two and three and four.
And one two and three and.
That's the feeling.
One and two and three and four and one and
two and three and four,
the opening phrase, which will help you
make everything else nicely through lines.
Three and one.
[MUSIC]
And
two and three and four and one and two and
three and four and one three.
[MUSIC]
You'll notice I'm actually,
keeping all those 16th going, which will
be very helpful for you.
Two, three and.
[MUSIC]
And they're all upstrokes.
Cuz I'm playing down up, down, up.
Down up, down up, down up, down up,
down up, down one and two and three and
four and one and two and three and four.
Very important.
[MUSIC]
Now it's more normal 16ths.
[MUSIC]
And at the end, it gets anticipated again.
All right?
So we go to the bridge without any melody
at first.
It's just the chords in a very sustained
way.
[MUSIC]
Yeah,
this is I would call it a variation to the
melody on the, on the B.
Instead of all of those notes.
[MUSIC]
So that we're,
we actually have a simplified version that
just hints at that, but then stops.
It's one.
[MUSIC]
One,
one.
And then,
the intro again,
but this time.
[MUSIC]
Somebody's gonna improvise over this,
this set of chords.
[MUSIC]
I think it's, it's me on the CD, but
usually live Darol Anger would take it on
violin.
So he, he plays over these chords,
G-minor,
A-minor, D-flat, C-sus, D-sus, C-sus,
B-flat, A-minor, G-minor, A7, D-flat.
And he keeps going.
[MUSIC]
And when he plays the melody, when he
starts playing.
[MUSIC]
The top
note of my chord, then that's how I know
that he's done.
And we all come down, dynamically and
play the same line that we played at the
end of the intro.
[MUSIC]
And we actually end it right there.
Very exciting, fa dop.
Okay?
So I hope this helps you understand this,
so a seemingly complex tune,
but I hope I was able to break it down for
you into kinda manageable bits and
look forward to hearing some of you all
play this.
If you have any questions about it, please
send me a submission, and
we'll, we'll go over it and try to
clarify.
So thanks again.
See you next time.
[MUSIC]