Despite the fact I am always saying I haven't got time to do enough practice on all my instruments, this little beastie has turned up in the shack and given me another learning curve to steer.

One that shouldn't be too hard to master as the tuning and fingering are identical to the violin.

Now I can look forward to a few weeks of further agony as my fingertips develop the callouses necessary to get a reasonable sound on a the small fretboard and double strings.

For the record, this is a flat backed, beech and mahogany mandoline and despite being only about 2 ins (50mm) deep has quite an amazing volume level.  The gig bag is much neater than the conventional deep bellied cases and means you don't look like Quasimodo when you're carrying it around.

I won't show a fingering chart for the mandoline as the positions are identical to the violin.  The difficulty I find is that despite the neck being marginally larger than the fiddle to accommodate the frets and the eight strings, the playing technique feels a lot more cramped because of this.  The advantage is that the notes are always accurate and you can get the correct position every time.  Maybe my positioning on the violin neck may improve because of this, who knows.

Tuning can take a little longer as you have to basically tune two sets of strings.  I have developed a habit of tuning each pair of strings slightly apart in pitch.  One string about 5cps sharp of pitch, the other 5cps flat.  The cumulative effect gives  a fuller sound.  Much in the same way that pairs of accordion reeds are tuned.

Here are couple of tips to anyone starting out on the mandoline.  For comfort, and despite the small body, buy a strap to hold the instrument in a comfortable playing position.  This is best worn over the head and right shoulder.  I have seen some American 'country style' players who wear the strap simply on their right shoulder. but it can cause a lot of strain keeping it there during long sessions.  I think it's just laziness so that they don't have to remove their stetsons when changing instruments during a number.

When choosing a plectrum, find a thin bodied one.  Some of the heavier guitar plectrums feel as though you're hitting the strings with the side of an axe blade.  Surprisingly, thanks to Wikipædia, I tried out an old idea and used a wing feather off a pigeon.  Sliced down the central rib, a piece about 1 in (25mm) long is flexible and strong enough to give reasonable volume and a pleasantly soft tone.

In the absence of pigeon feathers a makeshift plectrum can be cut out of the side of a polythene, 2 litre milk container.  Sturdy and flexible enough to be used whilst developing your technique.  You should be able to get about 60-80 out of one container.  At about £1 a shot in your local music store, you could save a bit of money here by using homemade versions.

Care and maintenance follow the identical rules I apply to my fiddles.   Keep it clean, cool and dry when in storage and loosen the strings if the instrument is not going to be played for long periods.

Wipe off and polish with a soft cloth after a session.

Store the instrument flat if possible, some do not have truss rods in their necks and if it is leaning against a wall or cupboard, the neck will have more opportunities to warp.