Fuzzy Mt. Va. Mountain Music”).

It has also become popular with doom metal/post-metal bands. On a multiple-neck instrument, the near neck will normally be some form of C6, and the next closest neck E9. If your banjo is already in G tuning, you only have to retune the 2nd string, raising the pitch one fret from a B to a C, to put your banjo into modal tuning.

Perhaps Fred invented it in G, and Tommy in A.).

Frank Proffitt, Bonnie James Campbell; I’ll Never Get Drunk Any More, 2-finger style (“North Carolina Songs & Ballads”). John Herrmann, Dirk Powell, Rosalee McFall, in E (“One Eyed Dog”). Hammons family “Sugar Babe” E-minor tuning. A very low drop tuning used in metal and death metal bands. Rufus Crisp, Shady Grove (“Rufus Crisp”).

Clyde Troxell, French Waltz, (“The Troxell Brothers: Troxsong”; also”Trad. String Band, Protect the Innocent, from Oscar Wright (“Fuzzy Mt. Hank Schwartz, with John Cohen, Banging Breakdown (“Old Time Banjo Project”). Virgil Anderson, Wild Goose Chase (“On the Tennessee Line”). Die Farben helfen dir sich schneller zu orientieren, wo welche Noten liegen. Open G tuning means that if we strum all the strings without fretting any of them, we will be playing a G chord. John Burke, Forked Deer (Tab, “Old-Time Fiddle Tunes for Banjo” ).

3 Special”). To avoid the relatively cumbersome designation “open D minor”, “open C minor”, such tunings are sometimes called “crossnote tunings”. Dock Boggs, Davenport, tuned dADAB; i.e.

(Although the liner notes say Sexton is playing this in fCFCD, key of F, I’m 99 & 44/100% sure he’s in gDGAD; and certainly in the key of G. Anyway, a very beautiful performance.)

Hank Sapoznik, President Garfield’s Hornpipe (tab in Ken Perlman’s in “Melodic Clawhammer Banjo”). Gaither Carlton, Rambling Hobo (“High Atmosphere”). John Rzeznik uses a different tuning for an acoustic version of “Iris”, tuned at D-A-d-g-b’-d’.

Two steps down, this becomes dDGAC , a tuning which Howie Bursen said he got from Reed Martin, claiming that it’s used “for just a few tunes in the key of G”. Allen Hart, with Kerry Blech, Will Davenport’s Tune, learned from Clyde Davenport (“The Young Fogies, vol. (There will be many more examples on recent minstrel-style recordings.). Just a few examples: Wade Reedy, Old Jimmy Sutton (“High Atmosphere”).

Ray Stewart, Four Cent Cotton (no recordings). This was the standard tuning for the 4-string plectrum banjo. John Hartford, Gentle On My Mind (Tab, BNL, Apr 1992).

Stu Jamieson, The Cumberland Mountain Deer Chase (capo-2) ( “Banjos, Lamas & Bagpipes”). Tom Glazer, The Days of ’49 (A-minor). Some guitarists maintain that the term ‘New Standard Tuning’ is a misnomer and consider it to be a source of controversy, but the name appears to have stuck due the absence of viable alternative designations. This tuning can be used for a number of reasons: to make larger strings bend more easily, to make the tone heavier, to better suit the vocalist’s range, to play with saxophone family more easily, or to play in Eb pentatonic minor formed by the black keys of a keyboard. Free PDF downloads with chord diagrams and tablature. Jack Marcovitch, King William’s March (Tab, BNL, Apr 1990).

D variant: “John Henry”, “Dead Man’s” tuning, Roscoe Holcomb, Old Smokey (“The Music of Roscoe Holcomb & Wade Ward”).. Greg Jowaisas, Valley Forge (“Old Time Banjo Pieces”). But see under f#DEAD). Paul Brown, Roundtown Gals (“A Tribute to Tommy Jarrell”). Sometimes a guitarist will want a tuning that will permit very easy chords but not be definitively minor or major. A rather uncommon tuning, “hardcore” tuning is used by bands of hardcore, grindcore, and even some metalcore. George Gibson, considering this a variant of the open-D tuning, mentions that his father used it for Frankie and Albert, holding down the 2nd string at the 2nd fret and the 3rd string at the 3rd fret. Mike Seeger’s liner notes say Dock usually plays this “with 5th string tuned to F#. Bob Carlin, Ladies on the Steamboat; The Last Time (“Where Did You Get That Hat?”).

Rosenbaum suggests trying Cumberland Gap or Buck Creek Girls in this tuning or the variant fDGCD.

Or dDGDD. N.B. W. Guy Bruce, setting Art Rosenbaum, Shady Grove (Tab, BNL, Dec 1982). The Kimble Family, Gypsy Girl (“Pine Knots School Rowdies”). It allows for a low, heavy sound, while still maintaining the intervals present in standard tuning. Rufus Crisp often used open-G tuned down to F. Ron Mullenex, Barker’s Creek (“Taking Yesterday Along”).

“The tune is played in the key of Eb and sort of toggles between Eb and its relative minor, Cm. The tuning result is (from low to high) Bb, Eb, Ab, Db, Gb, Bb, Eb.

Fred Cockerham, Little Satchel (“High Atmosphere”, on CD reissue, not on original LP.

One might consider broadening this definition to include more obscure or less used tonalities / chords such as the ones listed below. (last 6 are standard guitar tuning), Eb down to E chromatically – 1 octave below lowest ‘E’ on 6 string guitar. Molly Tenenbaum, Jack O’ Diamonds (“And the Hillsides Are All Covered with Cakes”). Dock Boggs, Pretty Polly (“His 12 Original Recordings”; “Dock Boggs”).

Pete Seeger ( “How to Play…”) mentions this as among the tunings Rufus Crisp used. John gives his source for this as Banjo Bill Cornett’s performance on ‘Mountain Music of Kentucky’ CD version.

Earl Scruggs, Nashville Blues.

Matokie Slaughter, Big Eyed Rabbit (“Saro”). This is a tuning devised by Robert Fripp of King Crimson, used by most Guitar Craft students around the world. Gaither Carlton, Rambling Hobo (“The Watson Family Tradition”). What George Gibson calls “Oma Wise” tuning, from his father’s playing of this song.

Bursen has used it for Indian Nation. Nine. Yet this tuning also retains a slight ringing sound due to three strings being tuned to D, the piece being in the key of D major. At any rate, it sounds to me as if Dock is using the Open-C on these songs). Brad Leftwich, Linda Higginbotham, Are You Getting There, Rabbit?, from Matokie Slaughter (“Say, Old Man”). aEGBE). John Les, Farewell My Home (adapted from Tony Ellis.

Whether he did or not, it’s effective, and does not sound like a mistake. His father used it for Darling Cora, and GG believes that B. F. Shelton did as well. Robb Goldstein, Bonaparte Crossing the Delaware (Tab, BNL, Oct 1986). Andere Bezeichnung für die Noten : Do, Re , Mi , Fa , Sol , La , Si ,dazu schreibt man Major oder Minor

(Sounds like Lily Mae plays it in this tuning.). True forerunner of the ukulele (G C E A, or on US mainland and England, A D F# B). (last 6 are standard guitar tuning), A# B C C# D D# F F# G G# then E A D G B E (last 6 are standard guitar tuning), “Slide” Open A: low-high; E-A-E-A-C#-E (note that this tuning is identical to Open G tuning but with every string raised one step or two frets), Open Dm: low-high; D-A-D-F-A-D (Used on Opeth’s Ghost of Perdition), Open E: low-high; E-B-E-G#-B-E (use light gauge strings because three strings must be raised), F-Sharp Tuning low-high; F#-A#-C#-F#-C#-F# (Used only by Curtis Mayfield).

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