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Post by earwighoney on May 23, 2013 13:44:48 GMT
I came across this thread.
Any recommendations for string sets for this particular tuning?
I find the 2nd lowest string (the capital G in question of cGcgcd) could possibly do with a little more oomph.
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davewhite
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Post by davewhite on May 23, 2013 14:01:22 GMT
Shubbs,
It's going to depend on your guitar and scale length. For this tuning and DADGAD the D'Addario EJ24 DADGAD strings work well on my guitars - 56,42,42,24,17,13.
Try a string a few gauges up - eg if you are using a 42 try a 45 - and see how it goes.
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Post by andyhowell on Jun 3, 2013 22:00:44 GMT
A lovely tuning this which I think works well when trying to follow the lines that a singer would take. I think in this tuning now.
Tune the g and the 3rd down to F and see how one Interval can make one hell of a difference!
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Post by andy3sheds on Sept 29, 2013 20:58:46 GMT
I've arrived a bit late at this thread but prompted by HB4 I'm here now!
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Phil Taylor
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Post by Phil Taylor on Nov 16, 2015 10:38:26 GMT
I have been exploring this tuning myself this year and came across this excellent thread started by davewhite which I had forgotten about I thought I would revive this interesting thread for the many new members by adding some videos of mine (as requested in the thread) as examples to show what I have been able to come up with just by 'doodling' about whilst in this tuning: In addition I have added a couple of further ones to show what can be done with a partial capo on the third fret. First is a superb piece written by our own @robbiej : and from learning that came this in which I borrowed a few chords from Robbie's piece and developed it: Anyone else got any examples they would like to share? Cheers Phil
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Post by gavdav on Nov 17, 2015 10:55:54 GMT
A lot of players arranging in this tuning work with a high statement of the melody, and a low version (typical Martin Simpson). I usually work on finding little diad shapes that work on the lower strings (typically these are power chord shapes which can be played in one or two octaves). The top string then gives you a different voicing of those chords with different fingering in a higher voice. I've found it very interesting moving to playing five string banjo in this tuning (double C) how much I use the top string without ever thinking about that interval as weird, though I understand why people find it so on the guitar.
That short step interval at the top has a number of benefits for me - it gives you the DADGAD type roll on the top which if you're flatpicking as I do can be useful that it isn't in the middle of the strings... It also gives lot's of little reentrant style runs when you start moving chord shapes up to the top of the fingerboard.
I'll be teaching in this tuning at Cecil Sharp House, Camden this coming Sunday looking at tune playing and hopefully some song accompaniment.
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Post by creamburmese on Nov 17, 2015 14:55:58 GMT
Love those pieces Phil. The first 2 in particular I feel I could listen to all evening to destress.....
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Post by vicov on Nov 17, 2015 22:52:38 GMT
Phil, that first piece of yours, "A place for solitude" is simply sublime.
Cheers Vic
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Phil Taylor
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Post by Phil Taylor on Nov 17, 2015 23:25:32 GMT
Love those pieces Phil. The first 2 in particular I feel I could listen to all evening to destress..... Thanks very much Regards Phil
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Phil Taylor
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Post by Phil Taylor on Nov 17, 2015 23:26:49 GMT
Phil, that first piece of yours, "A place for solitude" is simply sublime. Cheers Vic Ta very much for the kind comment Vic Cheers Phil
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Post by andyhowell on Nov 18, 2015 8:23:25 GMT
The bass strings are of course the same intervals as Dropped D or DADGAD. For me the key is to understand the scales on the top two strings (1 and 2). I did say I would put up some simple tabs here and I'm working on them.
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Post by vikingblues on Nov 19, 2015 6:16:17 GMT
Phil - you're a great salesman for the tuning with those videos. To be honest you're a great salesman for playing guitar in whatever tuning you're playing in a video. But there is something special about the resonances and sound from the tuning. They are particularly noticable on "A Place for Solitude". I did start to have a look at the tuning back in the spring, but I then got distracted with DADGAD. Now that I've got more idea about how that works I am encouraged by this thread to return to have another go at CGCGCD given the shared aspects on the lower strings. Maybe. Mark
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Post by andyhowell on Nov 19, 2015 16:16:27 GMT
Phil - you're a great salesman for the tuning with those videos. To be honest you're a great salesman for playing guitar in whatever tuning you're playing in a video. But there is something special about the resonances and sound from the tuning. They are particularly noticable on "A Place for Solitude". I did start to have a look at the tuning back in the spring, but I then got distracted with DADGAD. Now that I've got more idea about how that works I am encouraged by this thread to return to have another go at CGCGCD given the shared aspects on the lower strings. Maybe. Mark There is real sense in that. If you feel you begin to understand DADGAD that's probably a good place to start with a new tuning. For what it's worth I found C sub 2 a damn see easier to understand than DADGAD!
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Post by vikingblues on Nov 21, 2015 20:28:05 GMT
Well - I have been trying. But I was often told when a child that I was very trying! I'd like to say I'd taken on board and understood what Dave posted at the beginning of the thread but I can't bring myself to tell that big a lie. What I've done is had a go at a first composition in this tuning with no regard for theory and no understanding what notes or chords I was playing. It is just a combination of (1) different phrases I liked when trying out the tuning with improv, joined together by some sort of sequence that sounded in the right key, and (2) taking a melody line somewhere to see where it took me and trying to tack on some bass notes that made some sense to the ears. Not to my surprise it has something in common in it's ... errrrmmm ... style (for want of a better word) with what I normally play out of books of old Scots / celtic tunes. Here it is (on the Tanglewood Java) "Sea You" (a first Csus2 composition)Now I'd better examine it and work out what chords and progression I used. Mark
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bluebellbank
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Post by bluebellbank on Jul 9, 2016 15:48:48 GMT
Hi Dave, met you at Halsway, thanks for this description, very useful. All the best, Hilary.
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