I´ve been experimenting a lot with different tunings recently. The one used by many players in Irish music - GDAE - I found to be not satisfactory because - having fiddle and mandolin at the session - I think it doesn´t make much sense having three instruments tuned the same way. So I tried the other one - CGDA - and found that I didn´t need the low C very often (tunes going down to low C and further down I play on the English concertina). So I tuned the low C up to D - and now a lot of the fingering has become much easier. Have other banjo players had the same problem - IS it a problem ? - , is there somebody who uses a different tuning ? Will I cause raised eyebrows in a session when I play tunes on the tenor banjo tuned DGDA ?
It isn't all that uncommon for DAEB to be used, sometimes as CGDA capoed at the second fret. This allows previously learned fingerings for GDAE to be used (just play the tunes a string deeper) and makes the high B less of a stretch. If you back a lot of songs, this may be a more useful tuning depending on the singer. The main downside is the loss of the bass string, tunes which drop below low D have to be handled in a similar manner to flute & whistle players. (Either that or use standard fingering & just play 'em in a higehr key if playing solo).
- Chris
But I personally prefer GDAE, I miss the bass string
While the tenor banjo tuned GDAE is tuned in fifths, it is not tuned the same way as a fiddle or mandolin because it is an octave below. Thus it has a different timbre and range. Tuning to the standard jazz tuning of cgda will put it in the range of the fiddle, ironically while losing the low G string that makes the other tuning so distinctive.
Most pros who use cgda will capo up two to take advantage of the ease of use of the high B note. The trade-off is the loss of any notes below the D but this is the same as playing a whistle.
The advantage of playing in fifths is that the fretboard is logical. Once you know the root note of a tune, you can play anywhere on the fretboard using the same patterns and not having to think about where you are.
No matter which octave you choose to play in, the banjo remains a loud instrument which can dominate the session. Your playing style will be more important than the tuning of your instrument.
My personal favorite is DAEA -- same fingerings as fiddle/mandolin on the three lower strings, and I find the high A is more useful than a high B. I also agree with everything Mike said.
*Will I cause raised eyebrows in a session when I play tunes on the tenor banjo tuned DGDA ?*
If they haven't raised eyebrows when you turn up lugging mandolin, fiddle, banjo and possible concertina, I doubt they'll give a stuff what your E string's called.
What really raised eyebrows is when you pull a banjo from the banjo case. Most people have the vain hope that anyone lugging a banjo case is really a contract killer with a sub-machine gun. Disappointment arrives when they are found to be wrong.
DGDA is also one of the tunings used by Gerry O'Connor.
I found it much more fun to change it down to BFCG - not tell anyone, take it straight out of the case and launch into a set everyone knows and watch their faces twist into consternation and loathing as they jump in
If anyone has noticed what tuning you're playing in then they aren't concentrating enough on their own playing.
I'm not sure there are any rules any more on how to tune any instrument. The session police aren't likely to be after you.
PS; joke from Pamela Stephenson ( aka Mrs Billy Connolly );
How many banjo pickers does it take to change a lightbulb ?
Only one, but he will do it OVER AND OVER AND OVER AGAIN.
lots of Irish dance tunes seem to fall naturally on to stringed instruments tuned in 5ths (probably because they originated as fiddle tunes). GDAE is therefore the only game in town for me on tenor.
It might be different if I wanted to play other music or accompany singers - but I use a 5-string for all that stuff. Far more versatile and as many tunings as you can shake a stick at.
to millionyears_bc:
it was interesting to read that you alternate between the tenor and the 5-string. I do the same. I don´t, however, use the 5-string for ITM but for tunes which are clearly American/Appalachian in origin, as e.g. a version of `Twin Sisters´ I found here. The reason i´m experimenting with different tunings on the tenor is probably that I´m so used to doing it on the 5-string - which had been my first instrument. On the tenor I still find DGDA the best for me - maybe it comes so easy because the two low strings are the same as on the 5-string when it´s tuned to an open G chord - I don´t have to think so much about the fingering then.
tenor banjo tuning
tenor banjo tuning
I´ve been experimenting a lot with different tunings recently. The one used by many players in Irish music - GDAE - I found to be not satisfactory because - having fiddle and mandolin at the session - I think it doesn´t make much sense having three instruments tuned the same way. So I tried the other one - CGDA - and found that I didn´t need the low C very often (tunes going down to low C and further down I play on the English concertina). So I tuned the low C up to D - and now a lot of the fingering has become much easier. Have other banjo players had the same problem - IS it a problem ? - , is there somebody who uses a different tuning ? Will I cause raised eyebrows in a session when I play tunes on the tenor banjo tuned DGDA ?
# Posted on December 18th 2007 by alexweger
Re: tenor banjo tuning
I LOVE BANJO......BANJO BANJO BANJO AAAAAAAAAAAAAAAAAAAAAAAAAGH
# Posted on December 18th 2007 by Enda Mc Dermott
Re: tenor banjo tuning
It isn't all that uncommon for DAEB to be used, sometimes as CGDA capoed at the second fret. This allows previously learned fingerings for GDAE to be used (just play the tunes a string deeper) and makes the high B less of a stretch. If you back a lot of songs, this may be a more useful tuning depending on the singer. The main downside is the loss of the bass string, tunes which drop below low D have to be handled in a similar manner to flute & whistle players. (Either that or use standard fingering & just play 'em in a higehr key if playing solo).
- Chris
But I personally prefer GDAE, I miss the bass string
# Posted on December 18th 2007 by ramblingpitchfork
Re: tenor banjo tuning
While the tenor banjo tuned GDAE is tuned in fifths, it is not tuned the same way as a fiddle or mandolin because it is an octave below. Thus it has a different timbre and range. Tuning to the standard jazz tuning of cgda will put it in the range of the fiddle, ironically while losing the low G string that makes the other tuning so distinctive.
Most pros who use cgda will capo up two to take advantage of the ease of use of the high B note. The trade-off is the loss of any notes below the D but this is the same as playing a whistle.
The advantage of playing in fifths is that the fretboard is logical. Once you know the root note of a tune, you can play anywhere on the fretboard using the same patterns and not having to think about where you are.
No matter which octave you choose to play in, the banjo remains a loud instrument which can dominate the session. Your playing style will be more important than the tuning of your instrument.
Mike Keyes
http://www.banjosessions.com
# Posted on December 18th 2007 by mikeyes
Re: tenor banjo tuning
My personal favorite is DAEA -- same fingerings as fiddle/mandolin on the three lower strings, and I find the high A is more useful than a high B. I also agree with everything Mike said.
# Posted on December 18th 2007 by tedium
Re: tenor banjo tuning
*Will I cause raised eyebrows in a session when I play tunes on the tenor banjo tuned DGDA ?*
If they haven't raised eyebrows when you turn up lugging mandolin, fiddle, banjo and possible concertina, I doubt they'll give a stuff what your E string's called.
# Posted on December 18th 2007 by Bren
Re: tenor banjo tuning
What really raised eyebrows is when you pull a banjo from the banjo case. Most people have the vain hope that anyone lugging a banjo case is really a contract killer with a sub-machine gun. Disappointment arrives when they are found to be wrong.
Mike Keyes
http://www.banjosessions.com
# Posted on December 18th 2007 by mikeyes
Re: tenor banjo tuning
Like this Mike?
http://www.cartoonstock.com/newscartoons/cartoonists/ksm/lowres/ksmn453l.jpg
# Posted on December 18th 2007 by Bren
Re: tenor banjo tuning
DGDA is also one of the tunings used by Gerry O'Connor.
I found it much more fun to change it down to BFCG - not tell anyone, take it straight out of the case and launch into a set everyone knows and watch their faces twist into consternation and loathing as they jump in
# Posted on December 19th 2007 by Greenwiggle
Re: tenor banjo tuning
If anyone has noticed what tuning you're playing in then they aren't concentrating enough on their own playing.
I'm not sure there are any rules any more on how to tune any instrument. The session police aren't likely to be after you.
# Posted on December 19th 2007 by Guernsey Pete
Re: tenor banjo tuning
PS; joke from Pamela Stephenson ( aka Mrs Billy Connolly );
How many banjo pickers does it take to change a lightbulb ?
Only one, but he will do it OVER AND OVER AND OVER AGAIN.
# Posted on December 19th 2007 by Guernsey Pete
Re: tenor banjo tuning
lots of Irish dance tunes seem to fall naturally on to stringed instruments tuned in 5ths (probably because they originated as fiddle tunes). GDAE is therefore the only game in town for me on tenor.
It might be different if I wanted to play other music or accompany singers - but I use a 5-string for all that stuff. Far more versatile and as many tunings as you can shake a stick at.
# Posted on December 19th 2007 by millionyears_bc
Re: tenor banjo tuning
to millionyears_bc:
it was interesting to read that you alternate between the tenor and the 5-string. I do the same. I don´t, however, use the 5-string for ITM but for tunes which are clearly American/Appalachian in origin, as e.g. a version of `Twin Sisters´ I found here. The reason i´m experimenting with different tunings on the tenor is probably that I´m so used to doing it on the 5-string - which had been my first instrument. On the tenor I still find DGDA the best for me - maybe it comes so easy because the two low strings are the same as on the 5-string when it´s tuned to an open G chord - I don´t have to think so much about the fingering then.
# Posted on December 20th 2007 by alexweger