This was terrific and very useful to me as a complete noob. Just picking around to find old songs in good ol' open G I could see that some are real knucklebusters but this clearly illustrates how tuning can affect the ease and feel. Thanks!
Thanks Jeff. I've been working up an inventory of ideas for some more videos like this. If you have any suggestions for topics, especially those things that often "fall through the cracks", lmk.
Very nicely presented .... It took me 40 years following Clarence Tom Ashley's playing by ear before finding Chris Berry's lesson on Walkin Boss here on YT for me to discover "the off string pull off" instead of double thumbing for Ashley's songs rhythm. The internet is so useful. I know you left off adding aeolian mode for clarity but maybe in another clip .. I call aeolian "The Bagpipe mode ". Sawmill is also very useful for aeolian mode as you hinted ... Old G can be another twist for Ionian tunes in G like Big Sciota . If I am in Double C +2 at a jam doing D tunes dropping the g's to F fCFCD +2 is a fast step to G and makes a wonderful presence with the fiddles ... PS for those who dont know saying "+2" just means either tuning up two frets or putting a capo on at the second fret .. Also G tuning gDGBD -2 is tuning down to F .. Sorry for geeking out ..All the best from New England and thanks again .. Yours Guy
Thanks Guy! And a big YES to everything you said here. And yes, G/A modal is a go-to tuning for both the Dorian (quasi-minor) and Aeolian (minor) modes for key of G/A. For major (Ionian) and Mixolydian tunes (e.g Red-Haired Boy, Sandy Boys), standard G/A is the place to be. Or in some cases, Old G as you said.
i much like your offering. for 54 years i've avoided that tuning; nice to see how it works. i use dropC and really like dropFA (drop 2,3; gDFAD) for like Tennessee Stud in G and other Mixolydians, or raise the 5th string to A for A modals. time to spend some time there, thanks again for freeing me.
Just discovered your video on modes. Thank you for the explanation of the G Dorian Mode. For me, the intervals between notes help in understanding the various modes. Nobody had explained that to me before. A light turned on ! Also, I see now, why going to G sawmill tuning is a bit easier to play G Dorian tunes rather than standard G tuning (ionian). Thank you Mr Beuthin. I think I'll look at G Mixolydian next.
For curious guitarists watching, sawmill is the banjo equivalent of DADGAD, which means that were one to aquire a six string banjo, tune to DADGAD, and start playing some Davy Graham it would sound quite Appalachian
Another way to say that is DADGAD is a D Sus 4 tuning and Sawmill is a G sus 4 tuning In just the same way the shapes used on G Spanish tuning are over one string from D Vestipole .. :) After playing Sawmill for years on Guitar with some extra strings I invented for myself the same in D on Guitar only to find out it was the popular DADGAD ...
i dont mean to be off topic but does someone know of a way to get back into an Instagram account? I was stupid forgot my login password. I would appreciate any tricks you can offer me!
Thank you John. I am so glad you and so many people find this helpful. I know when I first started, I was just told 'use this tuning for this tune' with no real understanding of why. To me, a little understanding can boost confidence, and help one explore a bit more.
Ever since I picked up a banjo, I fell i love with sawmill. It pairs so well with clawhammer, that’s all I play now. I find the sawmill + clawhammer + downtune combination sounds so good!
I love Sawmill Tuning I picked it up like natural in my old 2 finger picking. I finger pick no picks I play in the old 2 finger thumb lead style it chose me and I chose it. 2 finger and clawhammer they gave a lot in common with each other except the old 2 finger style is mostly ignored so I preserve the 2 finger I focus and study it. I like players like Will Keys, Chip Arnold, Roscoe Holcomb, Bill Birchfield, Nick Hornbuckle, Lee Sexton, Morgan Sexton, Art Stamper, Paul Roberts, and Paul Brown.
Thanks for the recommendations. I'm coming over from guitar (had a banjo forever but only really used it as another guitar), and I've found 2 finger to be much easier for me than clawhammer.
Thanks Ed. So glad the you found my video informative. I've been busy with other things lately, but when I get more time, I will put together some more videos on topics that are side roads to most instructional paths.
I look at it like this...I generally stay in double-C which I often capo up to double-D. By just tuning up the low (4th) string, you're in sawmill, with no capo at all it's F/G-minor, with capo on 2 it's G/A-minor. With capo on 2 and no capo or spike on the 5th string, it's straight G major, or even E minor. Also something to think about for guitar players, the four strings are EADE, which is the same as guitar with the 2nd and 3rd strings missing, so the G chord is just like guitar, and other chords are similar :-)
Good points. I like to think of the sawmill tuning as half-way between standard G and double C tunings. The alternate G tuning you describe (gEADE) is also wonderful. It is also known as "F tuning" when you leave the capo off (fDGCD)-- basically G sawmill with the 5th string lowered to f. It's pretty amazing what changing the pitch of one string can do to get a different voice out of the banjo.
@@banjojack I like to leave the first and fifth strings alone as much as possible, so I'll even capo double C at the third fret, leave the fifth string at G, and it's an E flat tuning, though there's not much demand for it in jams :-) You can even fret the fifth string for the IV chord (which you almost have to do since it's so dissonant if you don't)
I worled out Shady Grove and Rain and Snow in open G minor capoed up to A minor from guitar tab when I wanted a break from guitar practice. It felt really natural to do it that way. When I tried some simple arrangements in sawmill tuning it sounded muddy to me. I still want to try playing in A minor out of sawmill tuning since that open C will be handy for the A minor chord. It's pretty fun to play in phrygian dominant mode in open G. I make up a thing called "The Mohel of Butcher Holler" because it's so Klezmer sounding.
Hi Ric, Glad to hear that you found this enlightening. Many Celtic tunes are modal (or in this case, in the Dorian mode), but that is not an exclusive. So, if you've listened to a lot of Celtic music, that would be a reasonable connection to make. And of course, many southern Appalachian tunes and songs are rooted in Celtic music.
You are welcome. Glad that you found this useful. In reviewing the video, I noticed that I mispook a couple of times (but minor mistakes that shouldn't derail the gist of things). At one point in discussing Cluck Old Hen, I spoke of 'fretting the 3rd fret on the 2nd string' when I meant to say 'fretting the 3rd fret on the 3rd string.' Also, at one point near the end, I mentioned 'playing in A' when I meant to say "'playing in G.'
Thanks for the feedback. This was an early days video where I just turned on the phone camera and that was about it. I'm getting a bit better at all that now.
Greeting from Dublin Ireland - great ‘lesson’ thanks for sharing. 👏👏👏👏🙏🏿
Thanks, glad you found it helpful!
This was terrific and very useful to me as a complete noob. Just picking around to find old songs in good ol' open G I could see that some are real knucklebusters but this clearly illustrates how tuning can affect the ease and feel. Thanks!
Thanks Gil! Happy to hear that this stimulated some insights.
Great, clear explanation. Need more of this for other banjo "tricks" and tunings. Thanks.
Thanks Jeff. I've been working up an inventory of ideas for some more videos like this. If you have any suggestions for topics, especially those things that often "fall through the cracks", lmk.
Very nicely presented .... It took me 40 years following Clarence Tom Ashley's playing by ear before finding Chris Berry's lesson on Walkin Boss here on YT for me to discover "the off string pull off" instead of double thumbing for Ashley's songs rhythm. The internet is so useful. I know you left off adding aeolian mode for clarity but maybe in another clip .. I call aeolian "The Bagpipe mode ". Sawmill is also very useful for aeolian mode as you hinted ... Old G can be another twist for Ionian tunes in G like Big Sciota . If I am in Double C +2 at a jam doing D tunes dropping the g's to F fCFCD +2 is a fast step to G and makes a wonderful presence with the fiddles ... PS for those who dont know saying "+2" just means either tuning up two frets or putting a capo on at the second fret .. Also G tuning gDGBD -2 is tuning down to F .. Sorry for geeking out ..All the best from New England and thanks again .. Yours Guy
Thanks Guy! And a big YES to everything you said here. And yes, G/A modal is a go-to tuning for both the Dorian (quasi-minor) and Aeolian (minor) modes for key of G/A. For major (Ionian) and Mixolydian tunes (e.g Red-Haired Boy, Sandy Boys), standard G/A is the place to be. Or in some cases, Old G as you said.
Best explanation yet of Sawmill Tuning. Thank you Sir
Thank you Rob. Glad you found it useful.
i much like your offering. for 54 years i've avoided that tuning; nice to see how it works. i use dropC and really like dropFA (drop 2,3; gDFAD) for like Tennessee Stud in G and other Mixolydians, or raise the 5th string to A for A modals.
time to spend some time there, thanks again for freeing me.
Well, thank you David. I’ve been playing banjo for just as long, and there is always something new to learn just around the corner.
Just discovered your video on modes. Thank you for the explanation of the G Dorian Mode. For me, the intervals between notes help in understanding the various modes. Nobody had explained that to me before. A light turned on ! Also, I see now, why going to G sawmill tuning is a bit easier to play G Dorian tunes rather than standard G tuning (ionian). Thank you Mr Beuthin. I think I'll look at G Mixolydian next.
For curious guitarists watching, sawmill is the banjo equivalent of DADGAD, which means that were one to aquire a six string banjo, tune to DADGAD, and start playing some Davy Graham it would sound quite Appalachian
Oh, ok. I got it now, thanks lol
Sawmill is the same as Dadgad at 5th fret only with the top banjo string on the bottom of the guitar, you don't need a six string banjo !
Another way to say that is DADGAD is a D Sus 4 tuning and Sawmill is a G sus 4 tuning In just the same way the shapes used on G Spanish tuning are over one string from D Vestipole .. :) After playing Sawmill for years on Guitar with some extra strings I invented for myself the same in D on Guitar only to find out it was the popular DADGAD ...
Love the video, I just got a banjo and I found the sawmill tuning a lot easier. You’re a good teacher sir
i dont mean to be off topic but does someone know of a way to get back into an Instagram account?
I was stupid forgot my login password. I would appreciate any tricks you can offer me!
@Bishop Larry instablaster ;)
Great Video! Thanks Jack for posting it. You brought some clarity!
Thank you John. I am so glad you and so many people find this helpful. I know when I first started, I was just told 'use this tuning for this tune' with no real understanding of why. To me, a little understanding can boost confidence, and help one explore a bit more.
Ever since I picked up a banjo, I fell i love with sawmill. It pairs so well with clawhammer, that’s all I play now. I find the sawmill + clawhammer + downtune combination sounds so good!
This is an informative presentation; thank you.
So helpful! Thank you from Australia
I love Sawmill Tuning I picked it up like natural in my old 2 finger picking.
I finger pick no picks I play in the old 2 finger thumb lead style it chose me and I chose it.
2 finger and clawhammer they gave a lot in common with each other except the old 2 finger style is mostly ignored so I preserve the 2 finger I focus and study it. I like players like Will Keys, Chip Arnold, Roscoe Holcomb, Bill Birchfield, Nick Hornbuckle, Lee Sexton, Morgan Sexton, Art Stamper, Paul Roberts, and Paul Brown.
Thanks for the recommendations. I'm coming over from guitar (had a banjo forever but only really used it as another guitar), and I've found 2 finger to be much easier for me than clawhammer.
Thanks for the recommendations. I too am trying to master this particular style. I'd also add Nora Brown to the list
Clifton hicks is a modern master and wealth of knowledge about the traditional playing and songs
Excellent lesson from a cool dude
Great video, thanks to it really helped.
Thanks for the words of Wisdom, Banjo Guru.
Thanks Ed. So glad the you found my video informative. I've been busy with other things lately, but when I get more time, I will put together some more videos on topics that are side roads to most instructional paths.
I look at it like this...I generally stay in double-C which I often capo up to double-D. By just tuning up the low (4th) string, you're in sawmill, with no capo at all it's F/G-minor, with capo on 2 it's G/A-minor. With capo on 2 and no capo or spike on the 5th string, it's straight G major, or even E minor. Also something to think about for guitar players, the four strings are EADE, which is the same as guitar with the 2nd and 3rd strings missing, so the G chord is just like guitar, and other chords are similar :-)
Good points. I like to think of the sawmill tuning as half-way between standard G and double C tunings. The alternate G tuning you describe (gEADE) is also wonderful. It is also known as "F tuning" when you leave the capo off (fDGCD)-- basically G sawmill with the 5th string lowered to f. It's pretty amazing what changing the pitch of one string can do to get a different voice out of the banjo.
@@banjojack I like to leave the first and fifth strings alone as much as possible, so I'll even capo double C at the third fret, leave the fifth string at G, and it's an E flat tuning, though there's not much demand for it in jams :-) You can even fret the fifth string for the IV chord (which you almost have to do since it's so dissonant if you don't)
I worled out Shady Grove and Rain and Snow in open G minor capoed up to A minor from guitar tab when I wanted a break from guitar practice. It felt really natural to do it that way. When I tried some simple arrangements in sawmill tuning it sounded muddy to me. I still want to try playing in A minor out of sawmill tuning since that open C will be handy for the A minor chord.
It's pretty fun to play in phrygian dominant mode in open G. I make up a thing called "The Mohel of Butcher Holler" because it's so Klezmer sounding.
Hi Jack, thank you for sharing, you just open a big door for me. that sounds very Celtic-ish, am I correct?
Hi Ric, Glad to hear that you found this enlightening. Many Celtic tunes are modal (or in this case, in the Dorian mode), but that is not an exclusive. So, if you've listened to a lot of Celtic music, that would be a reasonable connection to make. And of course, many southern Appalachian tunes and songs are rooted in Celtic music.
Dadgad .
Thank you very much!
You are welcome. Glad that you found this useful. In reviewing the video, I noticed that I mispook a couple of times (but minor mistakes that shouldn't derail the gist of things). At one point in discussing Cluck Old Hen, I spoke of 'fretting the 3rd fret on the 2nd string' when I meant to say 'fretting the 3rd fret on the 3rd string.' Also, at one point near the end, I mentioned 'playing in A' when I meant to say "'playing in G.'
Triple C pro here. Get on my level.
Editing note need more volume from speech thanks
Thanks for the feedback. This was an early days video where I just turned on the phone camera and that was about it. I'm getting a bit better at all that now.