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Among alternative tunings for the guitar, an open G tuning is an open tuning that features the G-major chord; its open notes are selected from the notes of a G-major chord, such as the G-major triad (G,B,D). For example, a popular open-G tuning is D–G–D–G–B–D (low to high). An open-G tuning allows a G-major chord to be strummed on all ...
C-G-C-G-C-E. This open C tuning is used by William Ackerman for his "Townsend Shuffle" and by John Fahey for his tribute to Mississippi John Hurt.This tuning is also commonly used by John Butler on his 12-string guitar. [1]
The origins of the name Kid Future date back in the 1930s where there were a number of country blues artists called Willie Brown, the best known of these, and a friend of Son House, recorded a song called "Future Blues", using an open G tuning. The song was considered very difficult to master and puzzled many experienced blues players but ...
Open tunings are common in blues and folk music. [23] These tunings are frequently used in the playing of slide and lap-slide ("Hawaiian") guitars, and Hawaiian slack key music. [22] [24] A musician who is well known for using open tuning in his music is Ry Cooder, who uses open tunings when playing the slide guitar. [23]
In the sixteenth century, the notes of A–D–G–B–E were adopted as a tuning for guitar-like instruments, and the low E was added later to make E–A–D–G–B–E as the standard guitar tuning. [66] In open tuning the strings are tuned to sound a chord when not fretted, and is most often major. [67] Open tunings commonly used with slide ...
In the open-G overtones-tuning G-G-D-G-B-D, the (G,B) interval is a major third, and of course each successive pair of notes on the G- and B-strings is also a major third; similarly, the open-string minor-third (B,D) induces minor thirds among all the frets of the B-D strings.
Johnson's song has a typical twelve-bar blues structure (though as is common in downhome blues of this era, the length of each verse is in fact thirteen and a half bars of 4/4), played on a single guitar tuned to open G, with a slide.
And there was another guitar over the top of that, but tuned to Nashville tuning. I learned that from somebody in George Jones' band in San Antonio in 1964. The high-strung guitar was an acoustic, too. Both acoustics were put through a Philips cassette recorder. Just jam the mic right in the guitar and play it back through an extension speaker. [9]