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Learn great traditional and original tunes in a variety of styles—old-time, bluegrass, Latin, jazz, and more—from a modern mandolin master.
John Reischman is one of the premier mandolinists of his generation, a master instrumentalist capable of swinging between re-inventions of traditional old-time tunes, deconstructions of the bluegrass repertoire, and compelling original tunes, many of which have become standards.
John is also a powerful bandleader, touring all over Canada and the United States with his band the Jaybirds. But most of all, he’s an understated visionary, the kind of master craftsman whose music is virtuosic without ever being flashy and who is renowned for his impeccable taste and tone. John Reischman embodies the true spirit of acoustic music in the 21st century.
A Juno–nominated and Grammy–award winning artist, John is known today for his work with the Jaybirds as well as his acclaimed solo albums, but he got his start as an original member of the Tony Rice Unit in the late 1970s. With this band led by the legendary bluegrass guitarist, John helped define the “new acoustic music” movement in bluegrass with a series of high-profile albums for Rounder Records. Building this sound, John was influenced early on by Bill Monroe’s mandolin playing, but also by the playing of progressive bluegrass mandolinists like Sam Bush and David Grisman, as well as jazz mandolinist Jethro Burns. Living in the Bay Area in the ’80s, John toured and performed with the seminal California bluegrass band the Good Ol’ Persons, cementing his reputation as a powerful mandolinist with an original vision for the instrument.
John moved to Vancouver, British Columbia, in the 1990s and formed the Jaybirds, but he never stopped his musical explorations. In 1996, he won a Grammy as part of Todd Phillips’ all-star tribute album to Bill Monroe. Over the years, he’s collaborated with a remarkably wide range of artists, from bluegrass singer Kathy Kallick to guitarist Scott Nygaard, banjo wiz Tony Furtado, Chinese Music ensemble Red Chamber, Brazilian multi-instrumentalist Celso Machado, singer songwriter Susan Crowe, and more. This kind of cross-cultural trailblazing has always been at the center of John’s music, an extension of his curiosity about the stringed instruments and musical rhythms of other traditions.
John’s relocation to Vancouver in the 1990s led to his next big step as an artist: becoming a bandleader. Drawing from the very best bluegrass and acoustic musicians in the Pacific Northwest to form the band, Reischman led the Jaybirds on cross-country tours, five albums, and two Juno nominations. The secret to the band’s success lies in its innovative arrangements, powerful original songwriting and tune composition, as well as the mix of talents that make up the group. It’s a tight band that can turn on a dime and play with the kind of power and precision that is the hallmark of the original bluegrass greats.
In 2013, John released his third solo album, Walk Along John. Made up of traditional and original tunes, the album is a celebration of Reischman’s long career, featuring guest spots from old friends like old-time fiddler Bruce Molsky, banjo genius Tony Trischka, the Punch Brothers’ Chris Thile, bluegrass guitarist Kenny Smith, and members of the Jaybirds, plus friends from a new generation of bluegrass instrumentalists: guitarist Eli West, members of the Deadly Gentlemen, among others. Walk Along John follows in the footsteps of Reischman’s other acclaimed solo albums, like his debut, North of the Border, which was described by Bluegrass Unlimited as “monumental . . . it establishes a remarkably high standard for mature, tasteful mandolin music.”
In 2016, John teamed with guitarist Scott Nygaard and mandolinist/bassist Sharon Gilchrist to produce a recording of traditional tunes, The Harmonic Tone Revealers, about which Bluegrass Unlimited said: “The Harmonic Tone Revealers highlights three of today’s most accomplished and respected acoustic musicians. Filled with luxuriously gorgeous music and intriguing renditions of popular and obscure tunes, this CD can’t fail to please anyone who loves bluegrass and acoustic music.”
Learn the first part of John's tune “Itzbin Reel,” one of the first tunes he wrote. It’s a fiddle tune in the key of A, and John starts by showing you the A major scale and a couple of scale patterns to get used to the key of A major. With Notation/Tab
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JOHN’S MANDOLIN AND TECHNIQUE
MELODIC MANDOLIN TUNES
Itzbin Reel One of the first tunes John ever wrote, “Itzbin Reel” is basically a fiddle tune in the key of A, although the form is AABA rather than the standard AABB form of most fiddle tunes, and the B section has ten measures instead of the standard eight. In addition to showing you the melody, John talks about keeping a steady up-and-down motion with your picking hand so you stay in time even when you’re not sounding a note. This is helpful in “Itzbin Reel,” because it has a few syncopated phrases that emphasize offbeats. You’ll also learn the chords and voicings John uses to play rhythm on “Itzbin Reel,” as well as an intro and ending.
La Arboleda John learned the Puerto Rican tune “La Arboleda” from a recording of cuatro player Pedro Padilla. It has three parts, the first in A minor, the second in C major/A minor, and the third in A major, and the form is AABBACCA, a fairly common form for ragtime tunes and Brazilian choros, among other kinds of music. The notes of the melody are relatively simple, made up primarily of the notes of the chords, but the rhythm of the melody is syncopated and somewhat tricky. To play rhythm to “La Arboleda” John plays more open-sounding chords than the usual bluegrass chop chords. You’ll learn the chord voicings he uses as well as a calypso-style rhythm pattern.
The Road to Malvern “The Road to Malvern” is a contemporary old-time (“new-time”?) fiddle tune in the key of A and it’s one of John’s favorites. After showing you the melody, he also shows you a couple variations he plays and talks a little about improvising on a fiddle tune like “The Road to Malvern.” For playing rhythm to old-time tunes, John often likes to use open chords and play with more of a regular eighth-note-based strum, with emphasis on beats two and four. You’ll learn the voicings John uses and his strum pattern.
Little Pine Siskin John’s tune “Little Pine Siskin” sounds like an old-time fiddle tune and has three parts, although the B and C parts only get played once each. John shows you how he keeps his pick moving, playing open-string chords, when there are long notes in the melody, and shows you the drone notes he plays on each part of the A part melody. He also shows you how he plays the C part up an octave when he repeats that part at the end of a performance, and how to play “Little Pine Siskin” up an octave in closed position with your first finger at the fifth fret.
Somewhere Over the Rainbow The pop and jazz standard “Somewhere Over the Rainbow” makes a great solo mandolin piece played chord-melody style. John starts by showing you a versatile movable chord voicing he learned from Jethro Burns, and explains, for example, how a G6 voicing can also be used for Em7, C9, or A7sus4. Then he walks you through his arrangement of “Somewhere Over the Rainbow,” explaining how he tries to make each chord ring out with sustain, and allowing the melody notes, the top notes of the chord, to be heard clearly. You’ll also learn an ending, which alternates G and Ebmaj7 chords, and a variation of the bridge with a moving bass line that Jethro Burns played.
Birdland Breakdown John recorded his tune “Birdland Breakdown” with the Tony Rice Unit in the 1980s, and it has since become a favorite of modern mandolinists. It’s in the key of D minor and uses a couple of minor scales, including D harmonic minor. John shows you how the melody matches the underlying chords and explains the D harmonic minor scale. You’ll also learn the chord voicings John plays on “Birdland Breakdown.”
The North Shore John composed his minor-key waltz “The North Shore” in honor of Bill Monroe, inspired by his minor-key waltzes like “Lonesome Moonlight Waltz.” It’s in the key of G minor and features tremolo and double stops using a harmonized Bb major scale, with melody notes harmonized a sixth below in most cases. John shows you the Bb harmonized major scale, so you can get familiar with the double stops you’ll use in “The North Shore” and demonstrates the tremolo he uses in “The North Shore”: a two triplet pattern over one beat.
Nesser John’s tune “Nesser” is a happy tune in the key of A major that he originally conceived as a tune that would sound good on the banjo. The first part of the tune consists of phrases that contain many of the same notes, but are phrased in different ways. John shows you how to imitate clawhammer banjo with hammer-ons and how to add the E string as a drone. The B part has even more “frailing” phrases and open-string drone notes. You’ll also learn a variation on the A part that recalls a technique used in mandolin tunes like Buck White’s “Buck’s Run.” This involves playing notes up the neck so that you can use the open A string as a drone.
Cazadero “Cazadero” is a four-part fiddle tune in the key of E major that was composed by fiddler Paul Shelasky and recorded by John on his North of the Border album. It was also recently recorded by Punch Brothers. The four parts are all distinct: the A part has some E major arpeggios, the B part includes some triplets, both picked and played with slurs (hammer-on/pull off), the third part has a more complicated chord progression and picked triplets, while the fourth part is less notey than the other three parts, with some descending half-note double stops and a crosspicked passage on the repeat.
Salt Spring John’s tune “Salt Spring” is another one of his “banjo-like” tunes, a relatively simple melody that imitates the sound of frailing banjo. It’s in the key of A, and the melody notes are mostly played on the second and third strings. Between melody notes, John plays a drone on the open E (and sometimes open A) string, which, along with his use of hammer-ons and slides, creates a banjo-like quality. John gets you started with a short exercise in which you play melody quarter notes played with a downstroke on the A string followed by two eighth notes (down-up) on the E string.
A Prairie Jewel John wrote his lovely waltz “A Prairie Jewel” for his wife, who grew up on the prairies of Alberta, Canada. It’s a long-form melody with a somewhat complex chord progression, all in the key of D. You’ll learn the melody, the open-string chords John plays to accompany the tune, and a chord-melody arrangement of the A part.
Big Bug John’s tune “Big Bug” is a fast bluegrass tune in the key of E major, with a lot of flatted sevenths and flatted thirds in the melody and a bridge that includes G and A chords. John shows you the E7 arpeggio you’ll use to finger much of the melody and then starts walking you through the melody phrase by phrase. He also talks about the tempo that’s best for the tune, and gives you a couple examples of how he would improvise on the E7 finger pattern.
Como Llora Una Estrella The beautiful Venezuelan waltz “Como Llora Una Estrella” (“As a Star Weeps”) is perfect for the mandolin. It’s in the key of D minor and has two parts, the second of which is half as long as the first. The melody has a number of long held notes, and John shows you how to keep time by keeping your picking hand in motion, so you end up on the right pick stroke. He also shows you the open-string chord voicings and some of the rhythm patterns he uses to accompany “Como Llora Una Estrella.”
Cheyenne Bill Monroe’s fiddle tune “Cheyenne” starts in the key of G minor and modulates to the relative major Bb for the second part. Monroe’s mandolin solo is a good example of his syncopated downstroke style applied to an instrumental instead of a song. In this lesson you’ll learn both the fiddle melody, originally played by Bobby Hicks, and a Monroe-style solo.
Old Gray Coat This jazzy waltz was written by guitarist Tony Rice. John learned it when he was a member of Tony’s band, the Tony Rice Unit, in the 1980s. You can hear Tony’s recording on his album Acoustics, which features Sam Bush on mandolin. John walks you through the melody phrase by phrase, showing you a few variations as he goes, including how to play the A part in an upper octave. He also shows you the chords he plays to “Old Gray Coat,” including some nice closed-position voicings of minor seventh and sus chords.
Salt River The old-time tune “Salt River” comes from fiddler Norman Edmonds and John learned it from Bruce Molsky. It’s not the same as the bluegrass jam favorite “Salt Creek” but has a similar modal tonality. You’ll learn the melody for both parts played mostly on the top strings as well as a version of both parts played in the lower octave.
Indian Arm John’s tune “Indian Arm” is featured on his recording Walk Along John. It's a pretty, medium tempo tune in E minor and uses the E Dorian scale. John walks you through the melody phrase by phrase, showing you how the melody corresponds to the chords, giving advice on keeping your right-hand moving during some of the sustained melody notes, and showing you some of the slides he uses on “Indian Arm.”
Dawg’s Bull David Grisman recorded his tune “Dawg's Bull” in the late 1970s on Hot Dawg. It's in the key of A major and the melody of the A part is based on arpeggios of the chords, but played up the neck (at the seventh fret or above) with a unique syncopation similar to a calypso rhythm. The B part has a simpler melody and is played in open position. John walks you through the melody of both parts, phrase by phrase, showing you the picking and fingering as he goes. He also shows you how you can find high and low harmony parts for the A part by moving chord shapes up or down on the same strings as the melody.
Bell’s March John learned this Civil War-era melody from Nick Hornbuckle, the banjo player in John Reischman and the Jaybirds. It’s a nice stately tune in the key of G minor. John shows you how he moves between first and second position on one phrase and adds some double stops to the melody. He also explains the anticipation at the beginning of some of the phrases.
Palomita Blanca John learned the old Argentinian waltz “Palomita Blanca” from a recording by French fingerstyle guitarist Pierre Bensusan and then arranged it for the mandolin, recording it on his debut solo album North of the Border. It’s a complex melody, with syncopated motifs that are repeated on different steps of the scale to match the chords.
Waltz in Bluegrass Frank Wakefield’s beautiful “Waltz in Bluegrass” is a fun tune to play and also makes a good exercise in measured tremolo. It’s in the key of F and is mostly played in second position with your finger at the third fret. John shows you how he plays all the single notes with downstrokes and uses the same shape for most of the double stops. He also talks about practicing the measured tremolo he uses on the double stops.
Liza Jane The old-time fiddle tune “Liza Jane” (also known as “Little Liza Jane” and “Old Liza Jane”) is often played on the fiddle in A, but John plays it in D, and recorded it recently in that key with Peghead Nation instructors Scott Nygaard and Sharon Gilchrist on the album Harmonic Tone Revealers. In addition to the melody, John shows you a few variations and how he plays the B part with a clawhammer-style rhythm and drone strings. He also shows you how to find the melody of the A part an octave up the neck.
Aguinaldo Cagueño The Puerto Rican tune “Aguinaldo Cagueño” is a simple, catchy tune in the key of G. An “aguinaldo” is a type of tune played among jibaro musicians in Puerto Rico around the Christmas season. The main melody instrument in jibaro music is the ten-string cuatro, which has five courses (double strings) and is tuned a little lower in pitch than a mandolin. John got this tune from a recording of the great cuatro player Pedro Padilla. It has a simple melody based on G major scales and arpeggios in the key of G, but the rhythm is syncopated, making the picking a little tricky.
Indiana Firefly When John wrote “Indiana Firefly,” which he recorded on his album Up in the Woods, he was trying to come up with something Bill Monroe might write. It’s in the key of A with an interesting chord progression in the first part (A, D, C, G) and a melody that has more of a minor or Dorian sound. You’ll learn the melody of “Indiana Firefly” as well as a solo to the A that John came up with for his recording of the tune. The solo is inspired by Bill Monroe’s playing, but includes a lot of John’s original ideas.
Daylighting the Creek John wrote “Daylighting the Creek” recently and it’s featured on the John Reischman and the Jaybirds recording On That Other Green Shore. It’s a fast tune in the key of A and played in John’s “clawhammer style”: a simple melody articulated with numerous hammer-ons and slides accompanied by ringing open strings. The form is AABB, but the B part is different when it repeats, with a new opening phrase and an extra measure that takes you back to the A part.
Eighth of February John recorded his fiddle tune “Eighth of February,” named for the day he wrote it, on his album Up in the Woods. The A part to “Eighth of February” mostly consists of eighth notes, and none of the phrases repeat, while the B part is more syncopated and has more repetition.
President Garfield’s Hornpipe The fiddle tune “President Garfield’s Hornpipe” is in the key of Bb and is a good exercise in playing arpeggios in Bb. John starts by reviewing the Bb major scale and arpeggio before showing you the A part of “President Garfield’s Hornpipe,” which mostly consists of Bb and F arpeggios and a Bb major scale on the top two strings. The B part of “President Garfield’s Hornpipe” is a bit of a workout for your pinky. It starts on a long Eb arpeggio, followed by a Bb arpeggio, and then a tricky F arpeggio.
Greenwood John recorded his tune “Greenwood” on Up in the Woods. It’s a medium tempo tune with a simple melody that can be enhanced by slides and hammer-ons. Along with showing you the melody in standard position, as well as some embellishments, double stops, and melodic variations, John shows you how, by practicing the melody with your second, third, and fourth fingers, instead of your first, second, and third, you can easily move the melody of “Greenwood” up an octave.
Juramento John learned the beautiful Puerto Rican melody “Juramento” from a recording of the great Puerto Rican cuatro player Pedro Padilla. It’s a slow melodic tune, with some unusual syncopation and a complex chord progression. In addition to the melody of “Juramento,” you’ll learn the montuno that Pedro Padilla plays at the end of his recording of the tune.
Devlin Tony Rice’s jazz waltz “Devlin” was first recorded for David Grisman’s Hot Dawg record, and John also recorded it with Tony a few years later. It’s in E major and features a vamp between Emaj7 and B7sus4 chords. The first part of the melody is played up the neck in a couple of E major positions, followed by the same melodic phrase played down a whole step, over a D major chord.
Side By Each John recorded two versions of his tune “Side by Each” on his album Walk Along John, one as a duet with old-time fiddler Bruce Molsky and one with a full bluegrass band. In addition to walking you through the melody phrase by phrase, John shows you a couple of variations of the melody and how to play the melody in the lower octave.
Red Diamond John’s tune “Red Diamond” is a bluesy bluegrass instrumental in the key of E. The melody of the first part is based on a series of double-stop positions played with a syncopated rhythm. The second part goes to an E minor sound with major chord accompaniment. John walks you through both parts, showing you a couple variations on the melody as he goes.
Ponies in the Forest John recorded the mysterious original tune “Ponies in the Forest” on Up in the Woods. The tonality is a little vague, hovering between the key of G and D, and on his recording, John tuned the E strings down to D, although it’s not necessary to do that to play the tune.
Little Maggie John’s arrangement of the traditional song “Little Maggie,” in which he plays the melody as a low air and as a frailing banjo tune, was influenced by a recording of Mike Seeger and Paul Brown. You’ll learn both versions in this lesson. John starts by walking you through the melody of the slow version, which is played rubato (without a regular pulse) and giving you advice on making the notes sustain into one another. Then he shows you the “frailing banjo” version, in which the melody is played in time with the addition of strums on the top two strings.
Brooks John wrote the jazz waltz “Brooks” more than 30 years ago, and recorded it on his debut solo album North of the Border. It’s a beautiful, mellow tune that requires a lot of sustain. John walks you through the melody phrase by phrase and also shows you the chord voicings he uses to accompany the tune.
Half Past Four The old-time fiddle tune “Half Past Four” comes from the great Kentucky fiddler Ed Haley, who was recorded by his son in a series of home recordings in the 1940s. It has also been making the rounds of bluegrass jams lately, and John recorded it with Sharon Gilchrist and Scott Nygaard on Harmonic Tone Revealers.
Bluegrass Signal John wrote and named the uptempo bluegrass instrumental “Bluegrass Signal” for the San Francisco Bay Area public radio show “Bluegrass Signal.” It’s in the key of B minor and has two parts. The melody is not challenging, but it’s often played at a fast tempo, though it sounds good at a medium tempo as well.
Hear some of the original recordings of tunes featured in John Reischman's Melodic Mandolin Tunes course.