Often heard in this tuning: Cumberland Gap; Sandy River Belles; Stoney Point. Bill Mansfield, Bonnie Prince Charlie, D-minor (“Root Hog or Die”). In this case, simply raise your 4th string two frets from a C to a D. Your other strings are already in tune and ready to go! Bursen has used it for Indian Nation. Mike Seeger’s liner notes say Dock usually plays this “with 5th string tuned to F#. On a multiple-neck instrument, the near neck will normally be some form of C6, and the next closest neck E9. Beim Nashville-Tuning werden die vier Basssaiten E, A D und G eine Oktave höher gestimmt als bei der Standardstimmung. B.F. Shelton, Darling Cora, 1927 (“Music of Kentucky Vol 1″;”Old Time Mountain Ballads”). Mississippi Sawyer, Soldier’s Joy, Arkansas Traveler, Turkey in the Straw, to name a few in the canon). Joel Mabus, Darling Corey, tuned to eCFA#C, key of C (“Clawhammer”). 1st string fretted at 2 gives the Em chord. Pete Seeger, Jinny Git Around ( “How to Play…”). Classical guitarists performing known transcriptions are assumed to be using predetermined and carefully defined tunings. Matokie Slaughter, Big-Eyed Rabbit; Sidna Myers, Shady Grove (both on “Clawhammer Banjo vol 2”). Corgan utilizes this unique tuning on Mayonaise. A versatile tuning examples of which can be heard in Choro de Saudade by Agustín Barrios and also in well known transcriptions of La Maja de Goya by Enrique Granados and Sevilla by Isaac Albéniz. A Peggy Seeger “dulcimer” tuning. Russian Open G: low-high; D-G-B-D-G-B-D (the standard tuning for the Russian seven string guitar). Jars of Clay uses this unique tuning, especially on their older material, especially found on their self-titled album. In the old days, the tuning G4 C3 G3 B3 D4 was more common and still is the preferred variation for folk music and classic banjo.
String Band”. D modal tuning D-A-D-G-A-D is now encountered in Celtic music and contemporary music. Dock Boggs, Pretty Polly (“His 12 Original Recordings”; “Dock Boggs”). An unusual tuning evidently invented by Miles Krassen to fit Frank George’s fiddle version of The 28th of January.
C-tuning was the basis for most of the 19th century banjo methods and the written banjo literature. Nearly infinite. Mike Seeger, Shady Grove, fretless bjo tuned down to d#CFA#C; with Tracy Schwarz’s fiddle tuned to FCDG (‘New Lost City Ramblers: There Ain’t No Way Out’). Art Rosenbaum, Frankie Was a Good Girl, key of F (Tab in “Old Time Mountain Banjo”).
The same principle of tuning several strings to the same note & playing on one string against the drone of the others can be applied in various combinations & keys. Dick Weissman, Ode to Amuse (“Old-Time Banjo Modern Style”). Dock Boggs, Turkey in the Straw (“Dock Boggs Vol 3”). (last 6 are standard guitar tuning), Eb down to E chromatically – 1 octave below lowest ‘E’ on 6 string guitar. Buzz Fountain, Southern Rose Waltz (“Old-Time Banjo in America”). (capo-2) (” Banjos, Lamas & Bagpipes”). Allen Hart, with Kerry Blech, Will Davenport’s Tune, learned from Clyde Davenport (“The Young Fogies, vol. Stu Jamieson, Georgie Buck (fretless banjo) (” Banjos, Lamas & Bagpipes”). Stecher seems to be playing it as a slide-banjo. Noted songs are “Worlds Apart,” “Flood,” “Love Song for a Savior,” and “He.” The tuning gives a shimmery 12-string sound, while limiting chords to mainly suspended type chords. Molly Tenenbaum, Cumberland Gap (“And the Hillsides Are All Covered with Cakes”). Open G is a great tuning, but there are many other ways you can tune your banjo as well. Bob Carlin, Big Scioty ,tuned down to eBEBC# (“Fiddle Tunes for Clawhammer Banjo”). Eight wire-strung courses tuned like a Lute, plus about 15 diatonic bass strings on a harp frame, similar to the Harp-Guitar of the early 1900’s in the USA.
A tining in the minstrel-style era (early to mid-19th century). Guns N’ Roses favoured E flat tuning because it allowed Axl Rose’s voice to be accentuated on the high notes. They can be especially effective with droning open strings, and give “suspended” second or fourth chords: These tunings allow a guitarist to play an open seventh, ninth, eleventh or thirteenth chord. Pete Seeger, Cumberland Mountain Bear Chase; Hard, Ain’t It Hard ( “How to Play…”). In BNL, Dec 1988, Ken Perlman discussed the use of this tuning for playing in B-flat and E-flat.
Bob Fulcher, Lost Indian (“Old Five-String”). Used to be one of the most widely used banjo tunings, and is a “standard” in bluegrass as well as old-time music. On table steel guitar and pedal steel guitar, the most common tunings are the extended-chord C6 tuning and E9 tuning, sometimes known as the Texas and Nashville tunings respectively. The A is raised by a half step, while the D is lowered by 2 whole steps. Though there are more recorded examples of this tuning in the Dock Boggs canon than I’ve found elsewhere, Dock clearly didn’t “invent” it. Frank Proffitt, Bonnie James Campbell; I’ll Never Get Drunk Any More, 2-finger style (“North Carolina Songs & Ballads”). All Rights Reserved. Bill Keith, Footprints in the Snow (“Muleskinner”; tab, BNL, Jan 1989). In this case, simply raise your 4th string two frets from a C to a D. Your other strings are already in tune and ready to go! (There will be many more examples on recent minstrel-style recordings.). Popularised by Davey Graham, who had been inspired by Arabic oud tuning while living in Morocco. Reed notes that the banjo on which he recorded the tune “belonged to the ‘Cox’ family of Hillsville VA…It was tuned to dADAD when found so it stays in that tuning.” (Communicated to Banjo-L by Jeff Chumley, 23 March 97). “The tune is played in the key of Eb and sort of toggles between Eb and its relative minor, Cm. Art Rosenbaum suggests it for Pretty Little Miss or Little Rabbit, using the 5th string for melody notes (in “Old Time Mountain Banjo”).
It is intended to serve the following purposes: This tuning is not only used by metal and rock bands, but also folk musicians. Try: Mole in the Ground…. The standard tuning is Open G Tuning (G, D, G, B, D).
Doc Watson, Rambling Hobo (“Memories”). It also can make it easier to play certain songs in different keys. Mike Seeger, with Tracy Schwarz and John Cohen, Miner’s Lament, key of B (“New Lost City Ramblers: There Ain’t No Way Out”). Molly Tenenbaum, Jack O’ Diamonds (“And the Hillsides Are All Covered with Cakes”). E. Sweeney, The Star of County Down (Tab, BNL, July 1984). This tuning is used very often in old time music. Merle Watson, Wreck of the Old No. Frank Proffitt, Cumberland Gap (“High Atmosphere”).
Or aADAD . (In fact Fred Cockerham uses it for Frankie as well. Ken Perlman, Billy in the Lowground (tab in in “Clawhammer Style Banjo”). George Stoneman, Sandy River Belle (“Clawhammer Banjo”). I will lead you through the chords, melody, and then put those... How To Tune Your Banjo to Double C Tuning, How To Play Blue In Green On 5 String Banjo, Single String Techniques: Mixing Arpeggios and Scales, Beginning Tenor Banjo Lessons | Up A Lazy River, Beginning Tenor Banjo Lessons | How To Play Winnin' Boy Blues, Ukulele Sizes – Soprano, Concert, Tenor & Baritone, Custom Deering Haunted Banjo Collaboration Unveiled on Kickstarter, Jens Kruger Beginner Banjo Lesson 14 - Combining Licks and Melody, IBMA Artist To Artist With Jerry Douglas, J.D. Bob Carlin, Pretty Polly Ann – tuned down to A: eAEAC# (“Banging & Sawing”).
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