Bob Carlin, Bruce Molsky, Old Blue Sow (“Take Me As I Am”). Muller & Koehler, Morpeth Rant, from “Allan Block & Ralph Lee Smith” (tab in Mel Bay’s “Frailing the 5-String Banjo”). Frank Proffitt, Bonnie James Campbell; I’ll Never Get Drunk Any More, 2-finger style (“North Carolina Songs & Ballads”). When playing with a guitar in standard tuning, you can read the guitar chords and play the standard ukulele chord patterns. – It looks as if Mike Seeger will never run out of new banjo-tunings. Willie Chapman, Little Birdie (“Mountain Music of Kentucky”). I suggest tuning it like a Cittern, as the descriptions of it’s sound from period Ms. would seem to indicate a “5th” relationship tuning. An example would be the tuning Jimmy Page uses on Led Zeppelin’s Rain Song (D,G,C,G,C,D). Of the song’s origin, nothing is known; it was sung, unaccompanied, on the recording by 2 U. Ariz. graduate students. Molly Tenenbaum, Jack O’ Diamonds (“And the Hillsides Are All Covered with Cakes”). Rufus Crisp, Shady Grove (“Rufus Crisp”). John Cohen, Buck Creek Girls, fretless bjo (‘New Lost City Ramblers: There Ain’t No Way Out’). The standard tuning is Open G Tuning (G, D, G, B, D). Dan Gellert, Red Rocking Chair (Sugar Baby) (“Forked Deer”). John Cohen’s notes for “High Atmosphere” state that “Amongst many old time banjo players from widespread parts of the mountains, this is the “Cumberland Gap” tuning – which can only be used for this tune. See also under gA#FA#D. © 2005-2020 acousticmusic.org. C6 tuning is popular for these instruments, as are E6 and E7 tuning, there being an insufficient number of strings to represent the notes of an E9 chord. I’ve no recorded example). The A is raised by a half step, while the D is lowered by 2 whole steps. Buell Kazee, Look Up Look Down That Lonesome Road; Jay Gould’s Daughter (“Buell Kazee”). Tony Trischka, Kentucky Bullfight (“Country Cooking”). String Band, Quince Dillon’s High D (“Summer Oaks & Porch”) Tom Paley, Wolves Howling (Tab, BNL, Nov 1984). G. Gibson comments that “Little Sparrow” also sounds great in this tuning. Apparently the tuning used by Thomas Briggs. Kimble Family, Pennsylvania Rambler; High Paper Collar (“The Kimble Family Vol 1: Carroll County Pioneers”). As with the Dropped B tuning, heavy gauge strings are required, and even minor modifications to some guitars. 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. 2”). Bob Carlin & Bruce Molsky, Cumberland Gap (“Take Me As I Am”). Sonny said he conceived of this tuning in the studio when another tune was needed (‘Don’t ask me how I thought of it, it just seemed the right thing to do’). The Bunch of Keys (“Banjo Picker’s Fakebook”). Mark Rader, from Joe Mullins, The Blues Are Still the Blues, key of B (Tab, BNL, Feb 1994). But see under f#DEAD). (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. Hobart Smith, Last Chance (“Hobart Smith of Saltville, Virginia”). Molly Tenenbaum, Charming Betsy, capo 3 for G-minor (“And the Hillsides Are All Covered in Cakes”). Tony Trischka, Garlic and Sapphires (“Psychograss: Like Minds”; tab, BNL, Nov 1996). Bob Carlin, Old Sledge (“Banging & Sawing”). Pete Seeger, All the Pretty Little Horses ( “How to Play…”). Hank Bradley, Ducks on the Millpond (Tab courtesy of Ray Stewart. I read somewhere that Seeger picked up this tuning from an old country banjo player he encountered on his travels. I’ve a note that Fred Cockerham may have used this tuning, but no reference. Fred Cockerham, Little Satchel (“High Atmosphere”, on CD reissue, not on original LP. Since it is highly likely guitarists will need to play minor chords as well, open tunings must be adapted to allow this by lowering the pitch of one of the strings forming the open chord by half a step. Hammons family “Sugar Babe” E-minor tuning. The Kimble Family, Cumberland Gap (“Kimble Family Vol 1: Carroll County Pioneers”). Although the song is in B-flat, it starts on the G-minor chord. Dick Weissman, Music Box (“Old-Time Banjo Modern Style”). I.e. John Herrmann, Dirk Powell, Rosalee McFall, in E (“One Eyed Dog”). BTW, I highly recommend the 2 Morgan Sexton recordings listed in my discography, especially for anyone interested in old-time finger-picking styles.). 2 – z.B: F2, G2, A2 usw. To review, here are the pitches you need for modal tuning: “Cluck Old Hen,” shown here, begins with something new: a downward right-hand index finger brush across the top three strings of your banjo, immediately followed by the thumb playing the 5th string.
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