y sound good and respond well. Tuning also depends on what period of music you are playing. Most of the 19th century finger style American banjo music was written for A tuning (eAEG#E) and some was written a step lower than that). Much of it has been transposed to C tuning (with the thumb string at g).
Tim Twiss said:What is it tuned to...G, so the thumb string reads "G"?
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o has, probably have a bridge saddle which is on an angle. This helps. Even so, changing keys usually involves a slight adjustment to the pitch of the second string. Just intonation, Pythagorian intonation, equal temperament, tuning to the overtone series, tuning to our preferences, each one of these postulates a major third that is different from the others. And in any one of these, B in an E chord will need to be higher than B in a G chord or the G chord will sound hideous if it's as high as E or B minor needs that b to be. ("B to Be" is a good rhythm and rhyme. HMMmmm the start of a new song.......
or a parody of an old one: Oh I come from hello grandma with a banjo b to be.....
sorry. couldn't resist. …
Added by Jody Stecher at 21:29 on September 4, 2020
comments in bold and that worked but Ning elected to put your words and mine on the same line. Ning's software is behaving like an opponent!
Trapdoor2 said:Yes, all parts are in the treble clef. The mandolin part appears to indicate GDAE tuning, there is a full 4-string chord that starts the B part and it is stacked GDBG (starting at the G below middle C...a Gmaj chord). but if the mandolin part is written in the key of one flat, and that one flat is B (flat) then it will be a G minor chord. I think you're right and it's a major chord and the key signature is wrong. Maybe the guitar and mandolin parts were intended to be written in the key of one sharp (G major) and the printer gave Sam Stewart one flat instead. Stranger things have been known to happen.
In the same measure, the guitar is playing a G bass note and then GBF (boom-chick backup), which is a G7, I believe.
Same measure in 1st banjo = G#D e (fifth string) (three sharps)
this is an E7 chord. Assuming that this was written for players who were used to reading in low tuning but were now, in the Modern Age, playing tuned 3 half steps higher, *all* the chords you've indicated are inversions of E7 on the page sounding as G7 in the air.
what I don't understand is how the Two Sharps of your original post became Three Sharps in your more recent post. Now that the key of D is no longer in the picture the whole thing is starting to make sense.
Same measure in 2nd banjo = D (bass) G#D e (fifth string) (three sharps)
Same measure in piccolo banjo = E (bass) g#de (fifth string) (three sharps)
so far so good
Same measure in banjeaurine = F#AB (8th note chord) then F#AD# (quarter note chord) (four sharps)
this is the same part that was in the key of three sharps earlier today? Anyway F#AB raised a fourth is BDE, an inversion of E7, right on target, and F# A D# becomes BDG#, also a variety of E7.
So, it appears that the mandolin is hitting a Gmaj chord, the guitar is hitting G7 and the three 'regular' banjos also hitting G7 (transposed to gCGBD tuning). The banjeaurine must be there too...I just can't figure it out. My brain hurts!
Not rocket science, I just counted on my fingers.…
Added by Jody Stecher at 6:59 on December 15, 2009