hello everybody,
since i noticed there are even chord-charts for adae on han speeks bouzouki-page it came to my mind there must be quite a
few experienced with it as their standard-tuning.
considering adae derives from gdae with the bass-string tuned one full step up i expect the topic to be more on accompaniment than playing melodies...
i havent met any adae-players yet.
therefore i am looking forward to as many contributions as possible
reel it up and jig it on (or so)
Yeah. I played bazooki in a band many years ago and I always played adae. (Don't do strumming any more, prefer to play tunes)
I had octave strings on the bottom and never used a capo. The strength of this tuning is that it doesn't really favour any of the more often used keys in diddly. I never really missed the G on the bottom because the third and the fith were easilly acessable. I used to leave the top a and e strings open quite a lot, strumming more weight to the octave fretted strings. This would give you 9ths in d, 4ths and 7ths in bmin, etc. You shouldn't always be looking for the roots in diddly music. And when you construct chords, don't be tempted to pack them with too many notes. There's enough notes in the tunes
hey michael,
to be honest - i dont know what you are trying to tell me...
complaint about delay or suspect of promoting this tuning?
anyway, great saying your: theres enough notes in the tunes.!
i agree to not always looking for the roots as well. on the other
hand theres the beloved drone.
in my opinion adae is great for a-major/minor, d-major/minor, b-minor, e-minor. it does work for g-major but (i call it my handicap)
i dont enjoy/ am not satisfied with it. guess i wouldnt like my
g-maj playing either if i played on gdae. it already starts with the
g-maj chord / first position: bass-note: b. same with e-minor.
not using bottom string- why play an 8-string then?
next: playing g-maj as a barre on fifth fret. since i prefer to have
lots of open strings in my playing - barre isnt the real thing either.
3. entire tuning one full step down: gcgd. that means g-maj without capo anything else: capo 2nd fret.
i once chose that tuning because (coming from classical violin)
when playing tunes a dropped treble-e-string would make the
hard to reach high b note (7th fret) even more difficult. another
reason was to still be able playing from the sheet and the aim of
everything without a capo.
nowadays i do use a capo but am not able for quick fret changes
because i dont use a stretch-capo.
to you padraig: i consider adae to be half-open tuning. adad or aeae sounds great but makes you capo-addicted.
when i play g-maj with capoed 5th fret using d-maj fingering, it doesnt seem to be the real thing either. (but thats again another
topic) almost a philosophical question.
thats it for now. please excuse my stirred up way of writing; there
are too many thoughts about this topic on my mind...
I know what you meen about Gmaj. But turn it into an advantage. If you listen to way Gmaj tunes are phrased on the fiddle and the flute they have a very sparse sound to them which is uncontrolably jolly. This suits not having any open drone strings.
Play:
5th fret on bottom A (a D note)
5th fret on D string (a G note)
2nd fret on A string (a B note)
3th fret on E string (a G note)
This is you stronget G chord, but I always prefered:
10th fret on bottom A (a G note)
9th fret on D string (a B note)
open A string (an A note)
open E string (a E note)
If you stress the fretted strings strongly enough (and because they are doubled with octaves) and hardly touch the E string you get a lovely jolly thick sounding chord that you can always go back to as your root.
bouzouki-tuning: adae
bouzouki-tuning: adae
hello everybody,
since i noticed there are even chord-charts for adae on han speeks bouzouki-page it came to my mind there must be quite a
few experienced with it as their standard-tuning.
considering adae derives from gdae with the bass-string tuned one full step up i expect the topic to be more on accompaniment than playing melodies...
i havent met any adae-players yet.
therefore i am looking forward to as many contributions as possible
reel it up and jig it on (or so)
gunther
# Posted on February 9th 2004 by adae
Re: bouzouki-tuning: adae
I am curious as whether it allows the oddment sound of ADAD with the abilities of GDAE...
Enlightenment, wanted. Inquire within.
-Padraig
# Posted on February 9th 2004 by Pádraig
Re: bouzouki-tuning: adae
Yeah. I played bazooki in a band many years ago and I always played adae. (Don't do strumming any more, prefer to play tunes)
I had octave strings on the bottom and never used a capo. The strength of this tuning is that it doesn't really favour any of the more often used keys in diddly. I never really missed the G on the bottom because the third and the fith were easilly acessable. I used to leave the top a and e strings open quite a lot, strumming more weight to the octave fretted strings. This would give you 9ths in d, 4ths and 7ths in bmin, etc. You shouldn't always be looking for the roots in diddly music. And when you construct chords, don't be tempted to pack them with too many notes. There's enough notes in the tunes
# Posted on February 9th 2004 by ...
Re: bouzouki-tuning: adae
Hey gunther, just goes to show how popular adae is eh?
# Posted on February 10th 2004 by ...
Re: bouzouki-tuning: adae
hey michael,
to be honest - i dont know what you are trying to tell me...
complaint about delay or suspect of promoting this tuning?
anyway, great saying your: theres enough notes in the tunes.!
i agree to not always looking for the roots as well. on the other
hand theres the beloved drone.
in my opinion adae is great for a-major/minor, d-major/minor, b-minor, e-minor. it does work for g-major but (i call it my handicap)
i dont enjoy/ am not satisfied with it. guess i wouldnt like my
g-maj playing either if i played on gdae. it already starts with the
g-maj chord / first position: bass-note: b. same with e-minor.
not using bottom string- why play an 8-string then?
next: playing g-maj as a barre on fifth fret. since i prefer to have
lots of open strings in my playing - barre isnt the real thing either.
3. entire tuning one full step down: gcgd. that means g-maj without capo anything else: capo 2nd fret.
i once chose that tuning because (coming from classical violin)
when playing tunes a dropped treble-e-string would make the
hard to reach high b note (7th fret) even more difficult. another
reason was to still be able playing from the sheet and the aim of
everything without a capo.
nowadays i do use a capo but am not able for quick fret changes
because i dont use a stretch-capo.
to you padraig: i consider adae to be half-open tuning. adad or aeae sounds great but makes you capo-addicted.
when i play g-maj with capoed 5th fret using d-maj fingering, it doesnt seem to be the real thing either. (but thats again another
topic) almost a philosophical question.
thats it for now. please excuse my stirred up way of writing; there
are too many thoughts about this topic on my mind...
gunther
# Posted on February 11th 2004 by adae
Re: bouzouki-tuning: adae
I know what you meen about Gmaj. But turn it into an advantage. If you listen to way Gmaj tunes are phrased on the fiddle and the flute they have a very sparse sound to them which is uncontrolably jolly. This suits not having any open drone strings.
Play:
5th fret on bottom A (a D note)
5th fret on D string (a G note)
2nd fret on A string (a B note)
3th fret on E string (a G note)
This is you stronget G chord, but I always prefered:
10th fret on bottom A (a G note)
9th fret on D string (a B note)
open A string (an A note)
open E string (a E note)
If you stress the fretted strings strongly enough (and because they are doubled with octaves) and hardly touch the E string you get a lovely jolly thick sounding chord that you can always go back to as your root.
PS throw away your capo. Useless device
# Posted on February 12th 2004 by ...