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
 ≡ 
+Music
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Mandolin Lessons: Auld Lang Syne

Video Exchanges () Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory
Lesson Specific Downloads
Play Along Tracks
Tools for All Lessons +
Metronome
Collaborations for
Submit a video for   

This video lesson is available only to members of
Bluegrass Mandolin with Mike Marshall.

Join Now

Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Bluegrass Mandolin with Mike Marshall. This is only a preview of what you get when you take Mandolin Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. 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]
All right.
[MUSIC]
[MUSIC]
Let's take a look at this tune.
I've got it here in three different keys
for you.
What I just did was key of A, of course.
[MUSIC]
I have to salute Bill Keith for
his version of this on his first record on
Rounder Records.
A wonderful version with David Grisman and
Tony Rice and the gang,
maybe Jerry Douglas and Vassar Clements
even.
That's a real cool version, and they do it
in G, the bluegrass key of G.
[MUSIC]
All right.
[MUSIC]
All right,
so in your in your study materials you'll
see that version in G.
Course it's very, very simple.
I'm gonna break it down here and do the,
the really straight-ahead version if you
wanna.
There it is if you wanna freeze it for a
second and just look at that.
That's what I'm looking at, very, very
straight ahead, just a melody as,
as straight as it can be, no tablature
unfortunately, hope that's okay.
[MUSIC]
Okay, just added a couple of little
slides.
That's all I'm really doing.
I'm sliding into a lot of things.
Even that G, I kinda hammer into it from
an F-sharp.
[MUSIC]
The A,
I prefer to play it fretted instead of
open, mainly because, you know,
fretting it in A enables me to slide into
it.
[MUSIC]
And be a little bit more expressive with
the sounds, because it's a fretted note, I
can kinda manipulate it with my left hand.
[MUSIC]
Course that, I, I play in first position.
[MUSIC]
And
I love the slide into this E note, too.
[MUSIC]
At the, the held E.
[MUSIC]
Sliding into this A.
[MUSIC]
Now on that final G,
I like to add a low B note with it, just
cuz it fills out the harmony.
[MUSIC]
Then, on that E note.
[MUSIC]
I hammer it from a D note.
[MUSIC]
And I love to slur backwards.
[MUSIC]
Very,
it's much, localizes the melody, makes it
a little bit more singing, sing song-y.
[MUSIC]
Same on that A, sliding up to it.
[MUSIC]
Sliding on that high E.
[MUSIC]
Now, that time I played the E.
[MUSIC]
With a low C note under it.
[MUSIC]
And then, finally on the G with the low B.
Hopefully you can see my fingers.
And slow this stuff down and grab little
bits of it.
Nice thing about a tune like this is
everybody certainly knows how the melody
goes, right?
[MUSIC]
[MUSIC]
What
you'll hear Bluegrass bands do is just
nice little two beat chop.
[MUSIC]
To a D chord.
[MUSIC]
Right.
So I went from a G.
[SOUND] To the G7.
Its not written in the music.
On your way to the C.
[MUSIC]
C and G.
[MUSIC]
G.
I just do a regular Bluegrass D and no D7.
[MUSIC]
And a C.
[MUSIC]
And back to G.
[MUSIC]
Now you can add a C
chord to this four [NOISE] that high E
note.
The last beat of the bar eight.
[SOUND] You can make it to C chord.
[SOUND] And back to a G chord.
[SOUND] On bar nine.
[MUSIC]
Bar 11, you can add a G seven.
Mike Marshall just dropped his pick.
You're not actually seeing him pick it up
right now, but.
[MUSIC]
On the way to bar 12 is C chord.
[MUSIC]
Back to the G.
[MUSIC]
D chord and C chord.
[SOUND] Sometimes, I play a D and go back
to the G.
[SOUND] C chord.
[SOUND] G chord.
[SOUND] G.
[SOUND] There's a couple of things that
are not actually written in the music.
[NOISE] Now if you were to play more of a
bluegrassy break on this thing,
you might even play it with the classic
fiddle kick off.
Right?
[MUSIC]
So I'm simply adding a couple a little
harmony notes.
[MUSIC]
So I'm adding a low beat to that G note.
[MUSIC]
Here on this A note,
I'm adding the high D note to it.
[MUSIC]
Love to play that with my first and
second finger so that I can [NOISE] play
the B note and the A note coming up.
[MUSIC]
I'm hammering from a [NOISE] an A and a D.
[SOUND] Up to the B.
Back down to first position with the
double stop G and B.
[MUSIC]
When I get to that high E,
I add the G to it to give it some sparkle.
[MUSIC]
And
I do that little hammer from the D to E.
[MUSIC]
And when I hit the D.
[SOUND] I'm hitting the G with it still.
When I hit the B.
[SOUND] I go to the regular G chord.
So it keeps that high G note ringing.
[MUSIC]
Again, for
the A note on, on bar six, I'm playing the
high D with it.
[MUSIC]
Keeps me in that nice position.
[MUSIC]
So at the C chord.
[MUSIC]
I hit the G and E, the G and
the C [NOISE] bar seven.
[MUSIC]
And then shift [NOISE] down for
the E notes to an E and a C.
[MUSIC]
And
land on the G with the B note under it.
Then I come up to the second position
here.
[MUSIC]
For the chorus.
Bar nine begins the chorus.
And the pickup notes into nine I do a
hammer.
[MUSIC]
Holding the D and G.
[MUSIC]
Slide,
hammering up to the E note that's written.
[MUSIC]
All right.
[MUSIC]
Down to the B and G notes.
[SOUND] Always keeping that high G.
[SOUND]
And
repeating all of the, these moves whenever
those notes appear.
[MUSIC]
You
could even slide up while that bar twelve.
[SOUND] The E note.
[SOUND] E and G.
[MUSIC]
You could slide up to,
to G and C which would be ten and eight.
[MUSIC]
So that's me attempting to improvise
eighth notes and, and
maintain just enough of the melody so you
kinda tell that it's Auld Lang Syne.
[MUSIC]
So that's getting into some pretty
advanced territory, right?
And that's for you hot shots that want a
little something more to chew on.
But of course, I started this video with
it in the key of A.
So you also see that there's a version in
the key of C.
I just thought that, you know, that this
key might be better for
some ladies to sing in.
Key of G.
[MUSIC]
That bridge goes so darn high.
[MUSIC]
Key of C.
[MUSIC]
That's a better key for me.
[MUSIC]
Have a good one.
[MUSIC]