Thanks for your appreciation! All the positive reactions are very inspiring and encouraging, and certainly help to improve the content of my videos :-)
Hear hear! I became a fan of Mr. Leenen in 2007. He was very free with tips and knowledge. This is such a blessing for anyone who is serious about mandolin performance. I wish I'd been able to do this when I was 5! Alas, there was no internet and probably no Ralf Leenen yet! That would be 62 yesrs ago.
Thanks for this fantastic demonstration of the practical aspects and traditions of the Ranieri method! It has been of great value to me, and I have used this reference often as an extra addition to the lessons I have with my teacher. I decided to make some timestamps for this video so it could be of help as an reference for other viewers: 0:00 - Introduction: --------------------------------------------------------------------------------------------- 0:14 - Different editions of the Ranieri method --------------------------------------------------------------------------------------------- * Cause of confusion: First publication is in 2 parts dividen in 4 books. Part 1 = Book I and II, Part 2 = Book III and IV. 1:22 - Later editions 1949: Only book I and II, which is equivalent to part 1 from the first edition. 2:22 - Avaiable editions now: Book I and II avaiable for purchase. Book III and IV avaiable on IMSLP. ----------------------------------------------------------------------------------------------- 3:20 - What is this mandolin method about? ----------------------------------------------------------------------------------------------- 3:20 - To be a tool for mandolin teachers to be used with their pupils. And be of guideline and be a collection of excelent exercises and music. 3:48 - Not meant for students studieng mandolin by themselves. Because you would be missing the example and practical knowledge of the traditions that a teacher would have, that no books or method could ever accurately contain. I myself have personally very good experience in regards to this dilemma. I tried learning mandolin by myself the first 6 months when I learned mandolin. And did not have much progress until I got a good teacher. 4:15 - Music is a language and a tradition. That you need to see, listen and hear how it is done to learn it. And therefore the music notes and writings in any method is inadequate on their own without a teacher. Learning music is ike a child learning a language, learning by imitating what they hear. 5:51 - How Ralf was thaught mandolin by getting to know the traditions from his teachers which was passed down by Silvio Ranieri to his teachers. And why Ralf wants to make these videoes. To preserve these traditions. 7:19 - The importance of open-mindedness and problem solving approach to music learning. Not limiting yourself to the general guidelines of methods. As there are exceptions where the standards techniques and guidelines of doing things do not work. 9:56 - The importance of practising the standard technique in the beginning. Because knowing, seeing or understanding how things are done does not mean you can do it. The standard techniques should get automatic. And the mandolin and plectrum should become an extension of your body. Which can be obtained by practising the correct way, and practising a lot. ----------------------------------------------------------------------------------------------- 11:00 - Plectrums ----------------------------------------------------------------------------------------------- 11:04 - Ranieri recommends either: Neapolitan or Roman shapes of plectrum 11:30 - Tortoise shell as material. Today it is not justified the production of new tortoise shell plectrums. But it is possible to find old ones(It does not hurt anyone if it has allready been made). They can be used and reshaped. 12:36 - Galli Celluoid plectrums: Light(Good for tremolo practise), Medium or Heavy. For more information regarding plectrums for classical mandolin. Check out Ralf's extensive video about plectrums: ua-cam.com/video/NwdELWoEHiI/v-deo.html ----------------------------------------------------------------------------------------------- 14:12 - Instrument/mandolin for the Ranieri method ----------------------------------------------------------------------------------------------- - Silvio Ranieri and Ralf uses and prefers Embergher mandolins. But all classical mandolins and modern mandolins can be used to follow this method. ----------------------------------------------------------------------------------------------- 14:50 - Strings ----------------------------------------------------------------------------------------------- - Not talked about in the method by Ranieri. Probebly due to lack of choise in this matter. - Today a lot of different options. - Roundwound, flatwound and polished all produces different sound. Roundwound the clearest. Flatwound the least clearest, and the polished something in between. Therefore Ralf recommends roundwound strings. 16:59 ! - Important if you have classical mandolin: Get strings with suitable tension for classical mandolin. Modern manodlins use strings with higher tension than strings for classical mandolin. 17:40 - Ralf's string recommendations: 17:46 - Optima 2145 roundwound silverstrings 18:28 - Savarez argentine 1540(the 1540x version is with stainless steel, and wear down the frets more easiely). =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+= 19:51 - Practical demonstration of the Ranieri method - The most important part of this video in my opinion =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+= ----------------------------------------------------------------------------------------------- 20:02 - How to hold a plectrum ----------------------------------------------------------------------------------------------- 20:02 - Between forefinger and thumb. - The thumb should be strecthed and the forefinger curved. - The other fingers relaxed without pressing against the forefinger. 20:45 - Close up of plectrum hold. ----------------------------------------------------------------------------------------------- 21:42 - How to hold the mandolin ----------------------------------------------------------------------------------------------- 21:49 - The left hand/left arm 21:51 - First hold it relaxed 21:56 - Lift arm 22:05 -> Because easily access to the whole fingerboard 22:35 - The right hand/arm 22:43 - Important to play with the flat side of the plectrum/play with the plectrum paralell to the strings 22:57 - Why should you cross your legs? 23:17 - Example of non ideal plectrum position 23:44 - Lifting the mandolin -> Ideal plectrum position 23:54 - Crossing the legs to add support. 24:15 - The Left hand/arm again: Slightly tilted - Use the length of your forearm 24:24 - You should not have any tension in either of your shoulders(They should be in neutral position). 24:41 - Placement of the right arm on the mandolin 21:45 - Placed slightly left of the tailpiece. 24:53 - The thumb should be paralell to the G-string. 25:00 - It is really important to play with the flat side of the plectrum. Perpundicular to the strings. 25:15 - What happens if you do not play with the flat side of the plectrum? It makes bad scratchy noises with the side of the plectrum hitting the string. 25:35 - Close-Up of the left hand fretboard-hold. 25:45 - Just fold your hand naturally around the fretboard with the fingers in the direction of the fingerboard: Think similair to a violin hold. 25:54 - No need to hold it like a guitar-neck: Because the fretboard is not as wide as the fretboard on a guitar or lute. 26:10 - The thumb should approximately be placed between the 1st and 2nd fret. 26:19 - You should have a space between the back of the mandolin neck and your hand. --------------------------------------------------------------------------------------------------------------------------------- 26:56 - A Close up of a demonstration of playing according to Ranieri method --------------------------------------------------------------------------------------------------------------------------------- -------------------------------------------- 27:18 - A guide to tremolo -------------------------------------------- 28:19 - Practical demonstration of the movement: - Important to always be relaxed in your wrist and arm. - The movement of the tremolo should come from the wrist and not the arm. - You should hold the plectrum loosely. So It can move a little bit. - Hold the plectrum purpundicular to the strings. And hit both strings in the stringpair. 30:46 - Problems with arm based tremolo compared to wrist based tremolo -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- 31:58 - A tremolo demonstration from the Ranieri Method: Exercise number 9: A duet for two mandolins --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Especially to brass frets. Most frets are nickel-silver, which is harder than brass, but still softer than stainless steel. You might also have stainless steel frets (like on some later Pecoraro and Calace mandolins), in that case, don't worry! :-)
Thanks for your excellent explanation. I hope that you will make another video epecially about strings. Type you suggest and how often its better to change them.. Viva il mandolino!
Excellent explanation of position ergonomics for playing. Tremolo needs be a lot denser , a lot ! Enjoy all your videos ! Great teacher & maestro. Kind regards.
OMG! I'm bursting inside. I want to scream out that Ralf Leneen is teaching! YEEESSSSSSSSS! I have one celloid pick left that I've used for years. It's my fave, but it won't pass your inspection. I also have some Ranieri style picks/plectra made from horn. Going back to them now that you've explained how to hold them. I'll have to find some celluloid sheet. I ordered some Argentine 1540s, but Optima 2145s don't seem to be available here in the US or in California. I tried to order them directly from Optima, but their "ship to" list doesn't include California. I've written them to ask if this is a mistake. I'm wondering if there is something in the alloys that California thinks causes cancer or something ridiculous like that. ... Nah! Can't be! Lol! I have Optima 3155 flat wound strings on my mandolin now. The strings are replacing those on my old bowlback which is of unknown origin, but allegedly an old German Embergher knock off. Gold Klang perhaps. Sounds good though. I decided that if I'm going to re-string it with the Argentines, I'd better get new tuners. Just ordered Rubner's. The tuners that are on it are not original and the A and E string tuners are nearly frozen and the plates were bent to fit the slot on the head. Got the Ranieri methods downloaded. I got volumes 1 and 2 from Schott last night. Maybe some day I'll be able to play Carlo Munier's Capriccio Spagnuolo! I'm getting older though and my fingers are way stiffer than when I started playing 30 years ago. I'm in so happy you're offering teachinz of sorts! I've been a fan of yours for ages!
@@infledermaus I think how long you should practice and how long per day is a very individual thing. And depending on how you practise, wheter you practice mindfully or not. And what your goals are. For example you could have 2 musicians, say 2 different guitarists which started the same time and at the same age, practising the same amount of time, say 2 hours a day. And one of them is just repeating the pieces he allready knows and is mindlessly "practising", and the other one is constantly streching outside his own comfort zone and current knowledge space little by little. Identifyieng what he cannot do, identifyieng problems and solving them as he goes. After a year the one which mindlessly dabbles will have almost no progress, and the other would comparerly have a lot more progress So I think the most relevant question rather than how much you should practise, is how should you practise efficently, and not necesarry how much you should practise(Not that the amount is irrelevant. I think how much you practise as well is relevant, but only as a secondary consideration after the first consideration being how to practise efficently). I think 1 hour of deliberate and efficent practise is better than 4 hours of mindless dabbling. I think a good strategy is starting with practising small and then increase as you feel works. And divide into time durations/slots/sessions of different sizes. I guess this is also highly individual what you prefer. If you prefer two 20 minutes sessions or one 45 minute session etc. But I guess a good consideration is how long are you able to focus on your practise? If you find yourself loosing focus in a 45 minute to an 1 hour session. Try dividing it into smaller sessions with small breaks inbetween where you can stand up and walk and strech, perhaps drink a glass of water etc. and then continue on another 20 minute session rather than plowing through a 1 hour session finding yourself loosing focus. As for tips for efficent practising I recommend checking out Brandond Acker s YT video: "GUITAR TIP: 5 Common Practice Mistakes". He is a guitarist, but the video is very general on how to practise deliberately and efficently no matter which instrument you play
Excellent video, Ralf. I did not know about the various editions. The info on strings and plectra was enlightening. And the introduction to tremolo was really interesting, in that I could see your Roman plectrum moving with each stroke - that was really interesting and important to see. It was also great to hear study no.9 as a duet. In my edition (Cranz 1956) it is no.6. But this is why it is best to use this method with a teacher, as almost every piece is a duet, and the counterpoint is very Bach-like at times, and suddenly a C Major scale exercise sounds like real music! I'm delighted that you are making these new videos. Very much appreciated.
Thanks Rob, I remember as a child finding it amazing how playing such simple notes together with my teacher could sound really wonderful! Certainly to young students I think it is also a great help in developing an ear for harmony.
Thank you:-). My mandolin luthier here in Belgium is Mattias Wielfaert : www.embergher-mandolin.be/ I play one of his mandolins in this video : ua-cam.com/video/dslQr-YEjIk/v-deo.html In other countries I can recommend Alfred Woll (Germany) and Lorenzo Lippi (Italy), ...
Hello Mr. Leenen thank you for the video. I had one question on the tremolo section, do I also hold the plectrum loosely if I use a teardrop style pick, like the dunlop celluloid pick? Thank you very much for your valuable instruction.
Hello Enrique, Yes I hold different plectrums the same way and use them the same way, wether they are teardrop shape or Roman ones with two points. From what I can see and hear, you produce a nice sound and play quite relaxed, which I think is good. I'm happy to give you more detailed advice, but by mail would be easier if you could let me know your email or send me an email. (do call me Ralf, I'm only a mandolin player trying to improve every day, just like you🙂)
@@ralfleenen 🙏Thank you for the response Ralf. Your instruction is most valuable and helpful but also inspires the fire of practice and learning. Best wishes Ralf.
Thank you so much for these videos! They are fascinating, and I am learning a great deal. I especially enjoyed the latest video on plectrums--I think I finally understood how my Embergher is supposed to sound (though my model is a humble Typo A). I've been using the Wolle picks because I think they bring out the classical sound of the Embergher better than the picks I use on my modern arch-top f-hole mandolins (Wegens and Blue Chips). But I agree that the Wolle don't really get that true sound; I'm going to try the Galli plectrums and a Red Bear Embergher-Ranieri plectrum (as far as I can tell, the only Roman style plectrum available online... and I don't suspect I'm going to come across any old tortoise shell plectrums anytime soon). One of the things I learned from this video is that the plectrum is supposed to strike the strings at a perfect parallel; I started mandolin playing bluegrass and old time, and I was taught to strike the strings at a slight angle, in keeping with the bevel on many bluegrass picks. I've been using Fisoma Consort (F3020) strings on my Embergher; do you have opinions on these strings in comparison to the Optima strings you are using here? Thanks!
Thanks Glenn! Embergher type A mandolins are underestimated. Although humble in appearance (what I actually quite like), these are very well made and often superb sounding instruments! Regarding Roman plectrums, I checked the Red Bear website and they say these are 1.85mm thick. When I look at the photo of the plectrum, they seem too thick (not enough bevelled) towards the edges for this thickness. If they shape them and round the edges as in the photo, I would rather prefer them to be overall 0.80mm instead of 1.85mm! I don't know this material though. The best substitute for tortoiseshell I have found so far is celluloid. The Galli mandolin plectrums sound excellent, and also Dunlop 485 medium sounds surprisingly well on a classical mandolin. Fender medium celluloid 354 might also do a good job, but I haven't tried yet. Regarding strings: I think the Fisoma strings you mention are their polished bronze wound G, D strings, combined with flat wound A strings (and of course plain steel E strings). I know these strings from the separate sets and I'm not so enhusiastic about them. They are smooth and easy to play, but they don't make a mandolin "sing" as traditional round wound strings. Certainly after a few weeks of playing they get rather dull, but they are still way better than a full set of flat wound strings! More about this in some of my next videos :-)
I like your sound and this method! What pick you use? I play gypsy jazz on guitar and using Wegen picks. Good, but sound so-so. I like sound of your pick!
Very nice, thank you. I will try to find this version. I would like to start mandolin, do you have an advice for the first mandolin that I should buy ? (I’m from France)
Thank you for your comment! If you are looking for an affordable and nice quality mandolin for beginners, you might want to look for an old (1970-2000) Suzuki mandolin. I often see them for sale quite cheaply, and when in good condition, they can be excellent instruments. Even advanced players use them, like this guy : ua-cam.com/video/YeK4tAkk8H4/v-deo.html This is quite a cheap model from the 1970s and it works perfectly for him. I also had one of these when I was 8 years old. The better Suzuki models like an M50 or M80 can even surpass the quality of the cheaper Calace mandolins (which are much more expensive than the Suzukis) You can also look for a vintage Italian mandolin (Embergher, Calace, de Meglio, Ceccherini, Stridente, etc...), but make sure it is in good condition, so it plays well and intonates well. Some of these are cheap, but not playable and require some (expensive) restoration work. As you are from France, you might be able to find a "Gelas" (or Gaudet) mandolin. They are not too expensive and really excellent instruments, even the flat back ones. Try to find one in good condition and make sure the neck is straight. (For further advice or questions, you can write me at ralf@skynet.be, also in French is no problem!)
What strings do you use ? Is it possible to get closer to the embergher style sound on a non embergher mandolin ? Obviously nothing compares to the sound of an embergher mandolin. But is it possible to get closer to that sound on my current bow Martin back mandolin gaining more treble and clarity by using superior strings ? I live in the USA and usually only see American string companies like Martin. Are there any Italian or old school European string companies that can get me closer to more traditional classical mandolin tone ? Also switching my plectrum might help get me closer to the tone you get ? Thanks so much your content has been so helpful
The short answer is yes, you can get a more Embergher like (= traditional Italian) mandolin sound by using traditional strings and a good plectrum. I'm often using Optima silver 2145, and Savarez Argentine 1540, which are cheaper and better sounding than all other commercially available strings that I've tried. I noticed that we also had a conversation in the comments of my plectrum video. You mentioned having sent me an email, but I don't remember ... Did I reply to that email? If not please resend it, it might have gone in the spam or so...
Dear Ralf, concerning tremolo: Do you use the TIP of the plectrum or do you incline the plectrum, so that you use a little part of the LONG side of the Roman plectrum?
I always use the tips of the plectrum. Depending on the sound and volume you want, you can use more or less of the tip (1mm - 10mm), but it is always the tip without inclining it and use the side of the plectrum. In general the plectrum will be parallel to the strings, but you can vary the sound (to make it smoother, softer) by holding it at a slight angle. I see people holding it constantly at an angle (it is also easier to tremolo), but I do that only occasionally as a sound effect.
The links of these online shops seem to change all the time, it's impossible to keep them updated. At this moment this one works: en.schott-music.com/shop/die-kunst-des-mandolinspiels-no28790.html If not, just look online for "Ranieri The Art of the Mandolin" or "Ranieri L'Art de la Mandoline"
Your generosity in doing this is humbling. I don't have words strong enough to tell you how important it is that you continue. Thank you.
Thanks for your appreciation! All the positive reactions are very inspiring and encouraging, and certainly help to improve the content of my videos :-)
Hear hear! I became a fan of Mr. Leenen in 2007. He was very free with tips and knowledge. This is such a blessing for anyone who is serious about mandolin performance. I wish I'd been able to do this when I was 5! Alas, there was no internet and probably no Ralf Leenen yet! That would be 62 yesrs ago.
Thank you for sharing your knowledge! 🙏
Grazie, Maestro! What a beautiful, masterful explanation.
This is absolutely brilliant, Ralf. What a gift to us in the world of mandolin players! Thanks so much.
Thanks Jim, I'm really happy to explain, teach and play mandolin, I just need to get better at making videos... I guess practising will help 😉
Thanks for this fantastic demonstration of the practical aspects and traditions of the Ranieri method! It has been of great value to me, and I have used this reference often as an extra addition to the lessons I have with my teacher.
I decided to make some timestamps for this video so it could be of help as an reference for other viewers:
0:00 - Introduction:
---------------------------------------------------------------------------------------------
0:14 - Different editions of the Ranieri method
---------------------------------------------------------------------------------------------
* Cause of confusion: First publication is in 2 parts dividen in 4 books. Part 1 = Book I and II, Part 2 = Book III and IV.
1:22 - Later editions 1949: Only book I and II, which is equivalent to part 1 from the first edition.
2:22 - Avaiable editions now: Book I and II avaiable for purchase. Book III and IV avaiable on IMSLP.
-----------------------------------------------------------------------------------------------
3:20 - What is this mandolin method about?
-----------------------------------------------------------------------------------------------
3:20 - To be a tool for mandolin teachers to be used with their pupils. And be of guideline and be a collection of excelent exercises and music.
3:48 - Not meant for students studieng mandolin by themselves. Because you would be missing the example and practical knowledge of the traditions that a teacher would have, that no books or method could ever accurately contain.
I myself have personally very good experience in regards to this dilemma. I tried learning mandolin by myself the first 6 months when I learned mandolin. And did not have much progress until I got a good teacher.
4:15 - Music is a language and a tradition. That you need to see, listen and hear how it is done to learn it. And therefore the music notes and writings in any method is inadequate on their own without a teacher. Learning music is ike a child learning a language, learning by imitating what they hear.
5:51 - How Ralf was thaught mandolin by getting to know the traditions from his teachers which was passed down by Silvio Ranieri to his teachers. And why Ralf wants to make these videoes. To preserve these traditions.
7:19 - The importance of open-mindedness and problem solving approach to music learning. Not limiting yourself to the general guidelines of methods. As there are exceptions where the standards techniques and guidelines of doing things do not work.
9:56 - The importance of practising the standard technique in the beginning. Because knowing, seeing or understanding how things are done does not mean you can do it. The standard techniques should get automatic. And the mandolin and plectrum should become an extension of your body. Which can be obtained by practising the correct way, and practising a lot.
-----------------------------------------------------------------------------------------------
11:00 - Plectrums
-----------------------------------------------------------------------------------------------
11:04 - Ranieri recommends either: Neapolitan or Roman shapes of plectrum
11:30 - Tortoise shell as material. Today it is not justified the production of new tortoise shell plectrums. But it is possible to find old ones(It does not hurt anyone if it has allready been made). They can be used and reshaped.
12:36 - Galli Celluoid plectrums: Light(Good for tremolo practise), Medium or Heavy.
For more information regarding plectrums for classical mandolin. Check out Ralf's extensive video about plectrums: ua-cam.com/video/NwdELWoEHiI/v-deo.html
-----------------------------------------------------------------------------------------------
14:12 - Instrument/mandolin for the Ranieri method
-----------------------------------------------------------------------------------------------
- Silvio Ranieri and Ralf uses and prefers Embergher mandolins. But all classical mandolins and modern mandolins can be used to follow this method.
-----------------------------------------------------------------------------------------------
14:50 - Strings
-----------------------------------------------------------------------------------------------
- Not talked about in the method by Ranieri. Probebly due to lack of choise in this matter.
- Today a lot of different options.
- Roundwound, flatwound and polished all produces different sound. Roundwound the clearest. Flatwound the least clearest, and the polished something in between. Therefore Ralf recommends roundwound strings.
16:59 ! - Important if you have classical mandolin: Get strings with suitable tension for classical mandolin. Modern manodlins use strings with higher tension than strings for classical mandolin.
17:40 - Ralf's string recommendations:
17:46 - Optima 2145 roundwound silverstrings
18:28 - Savarez argentine 1540(the 1540x version is with stainless steel, and wear down the frets more easiely).
=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=
19:51 - Practical demonstration of the Ranieri method - The most important part of this video in my opinion
=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=
-----------------------------------------------------------------------------------------------
20:02 - How to hold a plectrum
-----------------------------------------------------------------------------------------------
20:02 - Between forefinger and thumb.
- The thumb should be strecthed and the forefinger curved.
- The other fingers relaxed without pressing against the forefinger.
20:45 - Close up of plectrum hold.
-----------------------------------------------------------------------------------------------
21:42 - How to hold the mandolin
-----------------------------------------------------------------------------------------------
21:49 - The left hand/left arm
21:51 - First hold it relaxed
21:56 - Lift arm
22:05 -> Because easily access to the whole fingerboard
22:35 - The right hand/arm
22:43 - Important to play with the flat side of the plectrum/play with the plectrum paralell to the strings
22:57 - Why should you cross your legs?
23:17 - Example of non ideal plectrum position
23:44 - Lifting the mandolin -> Ideal plectrum position
23:54 - Crossing the legs to add support.
24:15 - The Left hand/arm again: Slightly tilted
- Use the length of your forearm
24:24 - You should not have any tension in either of your shoulders(They should be in neutral position).
24:41 - Placement of the right arm on the mandolin
21:45 - Placed slightly left of the tailpiece.
24:53 - The thumb should be paralell to the G-string.
25:00 - It is really important to play with the flat side of the plectrum. Perpundicular to the strings.
25:15 - What happens if you do not play with the flat side of the plectrum? It makes bad scratchy noises with the side of the plectrum hitting the string.
25:35 - Close-Up of the left hand fretboard-hold.
25:45 - Just fold your hand naturally around the fretboard with the fingers in the direction of the fingerboard: Think similair to a violin hold.
25:54 - No need to hold it like a guitar-neck: Because the fretboard is not as wide as the fretboard on a guitar or lute.
26:10 - The thumb should approximately be placed between the 1st and 2nd fret.
26:19 - You should have a space between the back of the mandolin neck and your hand.
---------------------------------------------------------------------------------------------------------------------------------
26:56 - A Close up of a demonstration of playing according to Ranieri method
---------------------------------------------------------------------------------------------------------------------------------
--------------------------------------------
27:18 - A guide to tremolo
--------------------------------------------
28:19 - Practical demonstration of the movement:
- Important to always be relaxed in your wrist and arm.
- The movement of the tremolo should come from the wrist and not the arm.
- You should hold the plectrum loosely. So It can move a little bit.
- Hold the plectrum purpundicular to the strings. And hit both strings in the stringpair.
30:46 - Problems with arm based tremolo compared to wrist based tremolo
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
31:58 - A tremolo demonstration from the Ranieri Method: Exercise number 9: A duet for two mandolins
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Wonderful and informative video
Ralf, thank you ! I really appreciate this, Ilearn a lot, you explain everything very well, you inspire me to practice more, greeting from Argentina!
Thanks for the encouragement, I also need to practise making videos :-)
Ralf, thank you very much for sharing!
Great tip on 1540 vs 1540x..I didn't realize that the stainless causes more wear to the fret!
Especially to brass frets. Most frets are nickel-silver, which is harder than brass, but still softer than stainless steel. You might also have stainless steel frets (like on some later Pecoraro and Calace mandolins), in that case, don't worry! :-)
Great lesson!
thanks for your appreciation! :-)
Thanks for your excellent explanation. I hope that you will make another video epecially about strings. Type you suggest and how often its better to change them.. Viva il mandolino!
Excellent explanation of position ergonomics for playing. Tremolo needs be a lot denser , a lot ! Enjoy all your videos ! Great teacher & maestro. Kind regards.
OMG! I'm bursting inside. I want to scream out that Ralf Leneen is teaching! YEEESSSSSSSSS!
I have one celloid pick left that I've used for years. It's my fave, but it won't pass your inspection.
I also have some Ranieri style picks/plectra made from horn. Going back to them now that you've explained how to hold them. I'll have to find some celluloid sheet.
I ordered some Argentine 1540s, but Optima 2145s don't seem to be available here in the US or in California. I tried to order them directly from Optima, but their "ship to" list doesn't include California. I've written them to ask if this is a mistake. I'm wondering if there is something in the alloys that California thinks causes cancer or something ridiculous like that. ... Nah! Can't be! Lol! I have Optima 3155 flat wound strings on my mandolin now.
The strings are replacing those on my old bowlback which is of unknown origin, but allegedly an old German Embergher knock off. Gold Klang perhaps. Sounds good though. I decided that if I'm going to re-string it with the Argentines, I'd better get new tuners. Just ordered Rubner's. The tuners that are on it are not original and the A and E string tuners are nearly frozen and the plates were bent to fit the slot on the head.
Got the Ranieri methods downloaded. I got volumes 1 and 2 from Schott last night.
Maybe some day I'll be able to play Carlo Munier's Capriccio Spagnuolo! I'm getting older though and my fingers are way stiffer than when I started playing 30 years ago.
I'm in so happy you're offering teachinz of sorts! I've been a fan of yours for ages!
If one had all day to practice, how long should one practice/play per day and per session?
@@infledermaus I think how long you should practice and how long per day is a very individual thing. And depending on how you practise, wheter you practice mindfully or not. And what your goals are. For example you could have 2 musicians, say 2 different guitarists which started the same time and at the same age, practising the same amount of time, say 2 hours a day. And one of them is just repeating the pieces he allready knows and is mindlessly "practising", and the other one is constantly streching outside his own comfort zone and current knowledge space little by little. Identifyieng what he cannot do, identifyieng problems and solving them as he goes. After a year the one which mindlessly dabbles will have almost no progress, and the other would comparerly have a lot more progress
So I think the most relevant question rather than how much you should practise, is how should you practise efficently, and not necesarry how much you should practise(Not that the amount is irrelevant. I think how much you practise as well is relevant, but only as a secondary consideration after the first consideration being how to practise efficently). I think 1 hour of deliberate and efficent practise is better than 4 hours of mindless dabbling.
I think a good strategy is starting with practising small and then increase as you feel works. And divide into time durations/slots/sessions of different sizes. I guess this is also highly individual what you prefer. If you prefer two 20 minutes sessions or one 45 minute session etc. But I guess a good consideration is how long are you able to focus on your practise? If you find yourself loosing focus in a 45 minute to an 1 hour session. Try dividing it into smaller sessions with small breaks inbetween where you can stand up and walk and strech, perhaps drink a glass of water etc. and then continue on another 20 minute session rather than plowing through a 1 hour session finding yourself loosing focus. As for tips for efficent practising I recommend checking out Brandond Acker s YT video: "GUITAR TIP: 5 Common Practice Mistakes". He is a guitarist, but the video is very general on how to practise deliberately and efficently no matter which instrument you play
@@amundtranvag3557I know of Brandon Acker. He's very good. I want Ralf to teach me, but I live in California and, well, he doesn't. Poop!
Excellent video, Ralf. I did not know about the various editions. The info on strings and plectra was enlightening. And the introduction to tremolo was really interesting, in that I could see your Roman plectrum moving with each stroke - that was really interesting and important to see. It was also great to hear study no.9 as a duet. In my edition (Cranz 1956) it is no.6. But this is why it is best to use this method with a teacher, as almost every piece is a duet, and the counterpoint is very Bach-like at times, and suddenly a C Major scale exercise sounds like real music! I'm delighted that you are making these new videos. Very much appreciated.
Thanks Rob, I remember as a child finding it amazing how playing such simple notes together with my teacher could sound really wonderful! Certainly to young students I think it is also a great help in developing an ear for harmony.
Great video thanks a lot for sharing your knowledge!!!!If it is possible who is the luthier you trust for mandolin please??
Thank you:-).
My mandolin luthier here in Belgium is Mattias Wielfaert : www.embergher-mandolin.be/
I play one of his mandolins in this video : ua-cam.com/video/dslQr-YEjIk/v-deo.html
In other countries I can recommend Alfred Woll (Germany) and Lorenzo Lippi (Italy), ...
Good lesson. Beautiful mandolin, what is the make and model?
Thanks! :-) it is an Embergher mandolin model 5bis.
Hello Mr. Leenen thank you for the video. I had one question on the tremolo section, do I also hold the plectrum loosely if I use a teardrop style pick, like the dunlop celluloid pick? Thank you very much for your valuable instruction.
Hello Enrique,
Yes I hold different plectrums the same way and use them the same way, wether they are teardrop shape or Roman ones with two points.
From what I can see and hear, you produce a nice sound and play quite relaxed, which I think is good. I'm happy to give you more detailed advice, but by mail would be easier if you could let me know your email or send me an email.
(do call me Ralf, I'm only a mandolin player trying to improve every day, just like you🙂)
@@ralfleenen 🙏Thank you for the response Ralf. Your instruction is most valuable and helpful but also inspires the fire of practice and learning. Best wishes Ralf.
Thank you so much for these videos! They are fascinating, and I am learning a great deal. I especially enjoyed the latest video on plectrums--I think I finally understood how my Embergher is supposed to sound (though my model is a humble Typo A). I've been using the Wolle picks because I think they bring out the classical sound of the Embergher better than the picks I use on my modern arch-top f-hole mandolins (Wegens and Blue Chips). But I agree that the Wolle don't really get that true sound; I'm going to try the Galli plectrums and a Red Bear Embergher-Ranieri plectrum (as far as I can tell, the only Roman style plectrum available online... and I don't suspect I'm going to come across any old tortoise shell plectrums anytime soon). One of the things I learned from this video is that the plectrum is supposed to strike the strings at a perfect parallel; I started mandolin playing bluegrass and old time, and I was taught to strike the strings at a slight angle, in keeping with the bevel on many bluegrass picks. I've been using Fisoma Consort (F3020) strings on my Embergher; do you have opinions on these strings in comparison to the Optima strings you are using here? Thanks!
Thanks Glenn! Embergher type A mandolins are underestimated. Although humble in appearance (what I actually quite like), these are very well made and often superb sounding instruments! Regarding Roman plectrums, I checked the Red Bear website and they say these are 1.85mm thick. When I look at the photo of the plectrum, they seem too thick (not enough bevelled) towards the edges for this thickness. If they shape them and round the edges as in the photo, I would rather prefer them to be overall 0.80mm instead of 1.85mm! I don't know this material though. The best substitute for tortoiseshell I have found so far is celluloid. The Galli mandolin plectrums sound excellent, and also Dunlop 485 medium sounds surprisingly well on a classical mandolin. Fender medium celluloid 354 might also do a good job, but I haven't tried yet. Regarding strings: I think the Fisoma strings you mention are their polished bronze wound G, D strings, combined with flat wound A strings (and of course plain steel E strings). I know these strings from the separate sets and I'm not so enhusiastic about them. They are smooth and easy to play, but they don't make a mandolin "sing" as traditional round wound strings. Certainly after a few weeks of playing they get rather dull, but they are still way better than a full set of flat wound strings! More about this in some of my next videos :-)
Thank you for this thorough and thoughtful reply! I look forward to your next video installments.
I like your sound and this method! What pick you use? I play gypsy jazz on guitar and using Wegen picks. Good, but sound so-so. I like sound of your pick!
Very nice, thank you. I will try to find this version.
I would like to start mandolin, do you have an advice for the first mandolin that I should buy ?
(I’m from France)
Thank you for your comment! If you are looking for an affordable and nice quality mandolin for beginners, you might want to look for an old (1970-2000) Suzuki mandolin. I often see them for sale quite cheaply, and when in good condition, they can be excellent instruments. Even advanced players use them, like this guy : ua-cam.com/video/YeK4tAkk8H4/v-deo.html This is quite a cheap model from the 1970s and it works perfectly for him. I also had one of these when I was 8 years old. The better Suzuki models like an M50 or M80 can even surpass the quality of the cheaper Calace mandolins (which are much more expensive than the Suzukis)
You can also look for a vintage Italian mandolin (Embergher, Calace, de Meglio, Ceccherini, Stridente, etc...), but make sure it is in good condition, so it plays well and intonates well. Some of these are cheap, but not playable and require some (expensive) restoration work. As you are from France, you might be able to find a "Gelas" (or Gaudet) mandolin. They are not too expensive and really excellent instruments, even the flat back ones. Try to find one in good condition and make sure the neck is straight. (For further advice or questions, you can write me at ralf@skynet.be, also in French is no problem!)
@@ralfleenen thank you very much for your advices. I will check and let you know about my choice.
What strings do you use ? Is it possible to get closer to the embergher style sound on a non embergher mandolin ? Obviously nothing compares to the sound of an embergher mandolin. But is it possible to get closer to that sound on my current bow Martin back mandolin gaining more treble and clarity by using superior strings ? I live in the USA and usually only see American string companies like Martin. Are there any Italian or old school European string companies that can get me closer to more traditional classical mandolin tone ? Also switching my plectrum might help get me closer to the tone you get ? Thanks so much your content has been so helpful
The short answer is yes, you can get a more Embergher like (= traditional Italian) mandolin sound by using traditional strings and a good plectrum. I'm often using Optima silver 2145, and Savarez Argentine 1540, which are cheaper and better sounding than all other commercially available strings that I've tried. I noticed that we also had a conversation in the comments of my plectrum video. You mentioned having sent me an email, but I don't remember ... Did I reply to that email? If not please resend it, it might have gone in the spam or so...
How do you manage to keep the mandolin stable? I:'m used to play a flat back mandolin and I'm having lots of difficult to play a rounded back one.
Dear Ralf, concerning tremolo: Do you use the TIP of the plectrum or do you incline the plectrum, so that you use a little part of the LONG side of the Roman plectrum?
I always use the tips of the plectrum. Depending on the sound and volume you want, you can use more or less of the tip (1mm - 10mm), but it is always the tip without inclining it and use the side of the plectrum. In general the plectrum will be parallel to the strings, but you can vary the sound (to make it smoother, softer) by holding it at a slight angle. I see people holding it constantly at an angle (it is also easier to tremolo), but I do that only occasionally as a sound effect.
@@ralfleenen Thank you for your quick answer!!!
The links are not actual
The links of these online shops seem to change all the time, it's impossible to keep them updated.
At this moment this one works: en.schott-music.com/shop/die-kunst-des-mandolinspiels-no28790.html
If not, just look online for "Ranieri The Art of the Mandolin" or "Ranieri L'Art de la Mandoline"
😍🙏🏻