Thank you for the reply which eased my mind. I was getting all hung up on which fingering to use for a particular doublestop. So now I can just focus on the main point of the lesson… finding the root and mapping out those six doublestops. A great lesson!!! Thanks Ben.
Discuss the Mandolin lesson: Doublestop Drill
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For ease of learning, I would have done better with a graphic that was not an inverted image where you show the nut to the right and reading/counting frets right to left instead of left to right. I can only speak for myself, and I know everyone is different, but trying to reverse the image and locate where I’m at and which (opposite) direction I need to go in relation to the graphic is slowing me waaaay down. I’ll just probably write out my own, and otherwise - as always - great lesson.
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Good feedback, thank you.
I’m with zialogic09. This would be so much easier to learn from tablature. I downloaded the lesson today, and found myself standing up and trying to look at the computer monitor upside down.
So, great lesson, first of all. I can see myself coming back to this several times to really make sure this gets hammered home. It’s already unlocking/meshing with a lot of other things I’ve already learned which is pretty cool.
But my next question is: are there key double stops to know that are born out of something other than the three-note major diatonic chord? For example, doesn’t Bill Monroe play a lot of super-twangy double stops that aren’t from the 1-3-5?
Thanks again for the great lesson!
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Today I slugged it out and wrote the 6 shapes in the key of A in tablature. Now I can see how valuable the drills are, especially after watching how they applied to a simple arrangement of “Amazing Grace.” I’m now looking forward to going back through some arrangements of my own and studying ways to incorporate new doublestops for new sounds. Fun.
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Yes, but you have to know where the 1-3-5 ones are first before you can really own the others. Great question! Can you tell me some of the ones he would play?
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OK, this is my best guess, and I’m only able to guess it because I remember this “closed lick” lesson:
https://banjobenclark.com/lessons/closed-chord-bag-o-licks-mandolin-intermediate/video/lick-2
But If I’m reading it right, that lick starts off with a G-root on the E-string, and the 5th (D) on the A-string.
From there, you shift from the root to the flat 3rd? So the “Monroe” double stop is a 5th mixed with a flat third?
Beyond that, I couldn’t begin to guess any more…
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Yep, that’s right. There are all kinds of doublestops that mix in the flat 3 and flat 7 with the other chord tones. The flat 5 sounds pretty gritty and good, too.
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The doublestop map link is broken or expired!
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Hi @grizrev Kelly 
to @BanjoBen 's Forum
Just checked the link and all seems fine. It’s a PDF file. Check in your Download folder. You’ll need a PDF reader to open the file. Suggest Adobe Reader
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If you leave your browser window open too long on the lesson page the links do expire. Refresh or revisit the lesson and it should work.
Wow, a great lesson, it opened up so much for me to improvise, cant wait for my next jam.
as for the root and scoot diagram, once you get it, it makes sooo much sense as to why its done that way. Thanks banjo ben, you really out done yourself,
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Ben is it just me or is the double stop orientation diagram of the neck backwards. I think it would help if it was oriented as you are looking at the diagram from above ( reverse of what it is) I guess I could look at it in a mirror
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After contemplating this, the view of the diagram is the same as if you are watching someone playing, in front of you. Should be able to work with it!
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Thank you so much Ben! This is exactly the lesson I’'ve been looking for!
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Thank you, CBoling! Glad to be here!
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Newby question, when using doublestops, should they be aligned with chord or with each note in a melody. I cant imagine every note above the e-string could be barred with the string below it R&5 for example? I guess I’m trying to figure out when to use them. The explanation of where they are and how to find them is great btw.
Jon
I think it depends some on if you’re playing backup fills or trying to play a melody solo. I believe I’m mainly thinking in terms of chords, and if trying to communicate a melody for solo, using the pattern to do so. If you can think of a specific instance, let me know and I’ll try to make a video.