Seven wire-strung courses tuned in “old” Lute tuning, plus 8 open bass strings on a harp frame. Bob Carlin, with John Hartford, Shortnin’ Bread (“The Fun of Open Discussion”). Allen Hart, with Kerry Blech, Will Davenport’s Tune, learned from Clyde Davenport (“The Young Fogies, vol.

This allows for Corgan to play the chord formations with all strings being played. (last 6 are standard guitar tuning), Eb down to E chromatically – 1 octave below lowest ‘E’ on 6 string guitar. Tom Paley) consistently use Open-C rather than Double-C. Ray Stewart says it makes far better sense for The 8th of January and Turkey in the Straw than Double C. Tuned up to D, this becomes aDADF#, and as such has the name of “Quince Dillon’s High D”. Crossnote F: low-high; F-Ab-C-F-C-F (extremely rare), Alternative: low-high; F-C-F-Ab-C-F (used by Albert Collins; requires extremely light gauges, C6: low-high; C-A-C-G-C-E (used in ” Bron-Yr-Aur ” & ” Friends” by English rock group Led Zeppelin), Dsus4: low-high; D-A-D-G-A-D (very popular in Celtic music and referred to as “Dad Gad”), G6: low-high; D-G-D-G-B-E (Used by Billy Gibbons in “Tush”), Open Emin7: low-high; E-B-D-G-B-E (same as standard except raised 5th string which needs lighter gauge), Dobro open G6: low-high; G-B-D-G-B-E (two lowest strings tuned up and require lighter gauges), D-G-D-F-B-D (both very rare presumably because of tritone between adjacent strings), Open Gmaj7: low-high D-G-D-F#-B-D (see slack key), EADGBE – standard guitar tuning for rhythm or fingerstyle, GBDGBD – for slide (many possible options here), DGBE – like the top 4 strings of a guitar, Piccolo Mandolin: A D G C (1/4 higher than a regular mandolin), Soprano Mandolin: G D A E (Same as a regular mandolin & violin), Tenor Mandolin: A D G C (1/5 lower than a regular mandolin), Cello Mandolin: A D G C (1 octave lower than a Tenor Mandolin), Octave Mandolin: G D A E (one octave lower than a Mandolin), Mando-Cello: C G D A (one octave lower than a Mandola), G C E A (4, 3, 2, 1) – ‘G’ is closest to you. Ken Perlman (from Briggs’ “Banjo Instructor”, 1855), Dance, Boatman, Dance; Old Zip Coon (Tabs, BNL, Feb 1988). Check out the audio track “Cluck Old Hen” in Modal Tuning and the video clip Clawhammer Banjo: Modal Tuning and “Cluck Old Hen” to hear how this technique should sound. Ken Perlman, Billy in the Lowground (tab in in “Clawhammer Style Banjo”). “Mr Keaton was listening to the tune on a cassette recorder one day at work when a co-worker, who was black, asked him its name. George Gibson lists it as a variant of the “Moonshiner” gDGAD tuning; he plays in it a version of Texas Rangers that he learned from Mel Amburgey, a Knott County old-timer. Wade Ward, Peachbottom Creek, capo 3 to F (“The Music of Roscoe Holcomb & Wade Ward”). Finally, we have included the double C tuning (G4 C3 G3 C4 D4). This tuning can also be written as C-F-A♯-d♯-g-c. Ken Perlman, Devil’s Dream (tab in “Clawhammer Style Banjo”. 1500): G C F A D G (the “viel accord”)(alto), “old” tuning: 8-course E# B A D G C# E# A (descant tuning: see below), “Accord Nouveau”: A D F A D F (17th Cent. Dock Boggs, Coke Oven March; Ruben’s Train (“Dock Boggs Vol 3”). The term also expresses the fact that, by fretting the lowered string at the first fret, it is possible to produce a major chord very easily. Kyle Creed, Cumberland Gap, tuned up to E (“Liberty”). Dock Boggs, Little Black Train (“Dock Boggs Vol 2”). I.e. It has also helped to strengthen my ear so now it is much easier for me to transcribe solos of other musicians and put it to the banjo.

Fuzzy Mt. Jack Marcovitch, King William’s March (Tab, BNL, Apr 1990). Open tunings are common in blues music and some rock and folk music. Tunes often played in Mountain Minor tuning (e.g. (“Pete Steele: Banjo Tunes & Songs”).
Tuning a standard, non-baritone guitar any lower than this is difficult. Classical guitarists performing known transcriptions are assumed to be using predetermined and carefully defined tunings. No recording.).

Buell Kazee, Lady Gay; Roving Cowboy (“Buell Kazee”).

Dan Gellert, Red Rocking Chair (Sugar Baby) (“Forked Deer”). Dwight Diller, Callaway (“Harvest: West Va. Mountain Music”). Buell Kazee, Look Up Look Down That Lonesome Road; Jay Gould’s Daughter (“Buell Kazee”). Cluck Old Hen; Pretty Polly; Shady Grove; Little Sadie; The Cuckoo; East Virginia. 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). Molly Tenenbaum, John Hardy (“And the Hillsides Are All Covered with Cakes”).

The Bunch of Keys (“Banjo Picker’s Fakebook”). A tining in the minstrel-style era (early to mid-19th century). John Cohen, Cumberland Gap (“Brandywine 1976”). 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”). The equivalent tuning for the key of D is f#DABE. Mullennex says he got ‘Houston’ from Burl Hammons; the fiddle is tuned EEBE in this performance.). Crowe, and Winston Marshall, Jens Kruger Beginner Banjo Lesson 13 - 5-String Banjo Tablature Explained. The sound of this tuning gives your banjo a lower voice since we are lowering the lowest pitched string (the 4th string) from a D to a C. It also gives your banjo a hauntingly drone tone because of the two strings that are tuned to C. 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’). In preparation for playing the clawhammer classic “Cluck Old Hen,” you need to get your banjo into modal tuning. For the C-chord, fret 1st string at 2nd fret, 2nd string at 3rd fret. Ron Mullennex, Turkey in the Straw; Houston (“Sugar in My Coffee”). To provide options for alternate tunings for various instruments. Don Borchelt, Greensleeves (Tab, BNL, Dec 1994). The tuning is similar to all fifths except the first string is dropped from b’ to g’. Dock Boggs, Danville Girl (“His 12 Original Recordings” and “Dock Boggs Vol 2”). Rufus Crisp, Cumberland Gap (“Rufus Crisp”). It has also become popular with doom metal/post-metal bands. Pete Seeger, Cumberland Mountain Bear Chase; Hard, Ain’t It Hard ( “How to Play…”). The unusual gBbFBbD tuning is used for no other piece in the region [Cumberland Plateau, Kentucky].”. Tuned up to D, this becomes aDAC#E. The standard tuning is Open G Tuning (G, D, G, B, D). For the G-chord, fret the 1st & 2nd strings at the 2nd fret. This is a tuning devised by Robert Fripp of King Crimson, used by most Guitar Craft students around the world. Bill Mansfield, Bonnie Prince Charlie, D-minor (“Root Hog or Die”). Bob Clayton, Reuben’s Train (Tab, BNL, Jan 1980). This gives the guitar a very low and heavy sound, and usually requires extra-thick strings to maintain tension. Technically a “drop C” tuning would be C-A-D-G-B-E’. On lap steel guitar there is often only one six-string neck. of Arizona Archive 1945-1955”, produced for the Ariz. Friends of Folklore. Bob Carlin lowered it to open-E for his version of Chilly Winds (“Fiddle Tunes for Clawhammer Banjo”). It allows for a low, heavy sound, while still maintaining the intervals present in standard tuning. The chord progression (I think) is B-flat/E-flat/F (= G/C/D). Ray Andrews, Meadowlands, in Bm (Tab, Ken Perlman’s in “Clawhammer Style Banjo”). Heavier gauge strings are required for this tuning, which may also require widening the string grooves in the nut of the guitar as well as re-adjusting the tension in the neck. Whether he did or not, it’s effective, and does not sound like a mistake. John Cohen, John Johanna (“Old Time Banjo Project”). Paul Brown, The Old Man’s & Old Woman’s Quarrel (Grumbling Old Man…), from Fields Ward (Tab, BNL, Aug 1994). Bob Carlin, Pretty Polly Ann – tuned down to A: eAEAC# (“Banging & Sawing”). “Last Chance”/ alt.

Oscar Wright, Sandy River ( “Clawhammer Banjo”). Danny Barnes, Stevejames, G-mixolydian (“The Bad Livers: Horses in the Mines”; tab, BNL, Aug 1995).

But see also under f#BEAD). This is because the monks singing Gregorian Chant would sing almost exclusively in octaves and fifths.

Tony Trischka, River of Steel (“Skyline Drive”). Ron Lunceford, Jerusalem Ridge, A-minor (Tab, BNL, Dec. 1996). Earl Scruggs, Lay Me Down in Dixie (“Top of the World”; tab, BNL, Jul 1990). Jont Blevins, Train 45 (I can’t find my source). Fred Cockerham, Frankie Baker (“High Atmosphere”, CD reissue only. I don’t believe Frank George has recorded this tune, but versions of it may be found on: “The Fuzzy Mountain String Band”; The Bing Brothers, “Just For the Sake of It”; The Ill-Mo Boys, “Fine As Frog’s Hair”. At any rate, it sounds to me as if Dock is using the Open-C on these songs). Corgan utilizes this unique tuning on Mayonaise. Also, Bob Fulcher, French Waltz, in aCGCE (“Old Five String”). Bob Fulcher, Redbird (“Old Five-String”). Pete Steele, Coal Creek March (“Pete Steele”). Tony Trischka, Garlic and Sapphires (“Psychograss: Like Minds”; tab, BNL, Nov 1996). Kimble Family, Troubles (Sugar Babe), (“Carroll County Pioneers”). Ray Stewart, Dry and Dusty (no recording). Ernie Fasse (communications to Banjo-L) has also, on his fretless banjo, been delving into this tuning, e.g.
Whit Mead, Backside of Buncombe (Tab, Bubba Hutch, BNL, Jan 1992. A rather uncommon tuning, “hardcore” tuning is used by bands of hardcore, grindcore, and even some metalcore. The tiple string tunings are a fifth above the corresponding guitar string (like a ukulele). Chesley Chancey, Mole in the Ground, finger-picking (“Folk Visions & Voices, vol 2”). Fred Cockerham, Frankie Baker, tuned up to E (“High Atmosphere”, CD reissue only. Bob Clayton, Bill Cheatham (Tab, BNL, Jan 1980). N.B. (4th string, in higher octave, re-entrant tuning), A D F# B Full step up (4th string, “A”, in higher octave, re-entrant tuning), D G B E (Like the upper 4 strings on a guitar), (South American version.

Joel Mabus, Little Rabbit (“Clawhammer”). As most of us know, standard tuning for a 5-string banjo is an open G tuning (G,D,G,B,D). Molly Tenenbaum, Roscoe’s Gone, from the tune Hank Bradley made up in honor of Roscoe Holcomb (“And the Hillsides…”; Hank Bradley, “Hassle the Caller”).


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