Chords for Key of C in Open G Tuning - Drop C
Tempo:
83.775 bpm
Chords used:
G
C
D
F#
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D] [G]
[D] As a slack key player, I tend to use open G tuning a lot.
That's a G major chord spelled from low to high.
D, the 5 note, [G] G, the 1, [D] D [G] again, another 5, another G, another [F#] 1.
In the third, [G] the B is on the B string, the second string.
And the first string, the thinnest, the [D] highest pitch, is another D, another 5 [G] note.
So we play the major 1 chord, the tonic, the G, by playing those 5 [D] strings.
And then we have a D for our bass on the D chord, D7.
And I think one of the reasons [D] open G tuning is so powerful and wonderful to play in is the strong 5 chord, the strong D7 chord.
There's [G] also a handy C.
[C] That sounds [G] pretty good, even though there's no C bass, we just use a G for the bass.
Or we [C] can barre, of course, any chord.
Since it's an open [F#] major chord, any chord can be played just by putting a barre at the right fret.
So at the 5th fret, [C] we have [G] a C.
But when we want to change keys, the 5th fret is about as far as we want to go.
We can have a G, we can have G sharp and A, A sharp or B flat, B.
And when we get to a C, we're getting right into the ukulele range, which is important for slack key people.
We want to stay away from the ukulele range.
Let them have the high plinky stuff and we get the nice warm juicy stuff.
So there are different ways to fool around with the G tuning and get other keys out of the G tuning.
The classic is called Drop C or [D#] C wahine or Leonard C.
It's a variation on the G tuning.
It seems to be very old.
I think there are recordings from the 40s using this tuning.
All you do is [D] drop this bottom string from a D down to a C.
I like to go E [C] C [D] D E C E C [C] E C.
I have a tuner but I don't use it.
So something like that.
It's not quite perfect but in that ballpark.
Now we have not an open chord.
You have to hold down some strings to have the one, the tonic, the name of the key.
But it's a nice C chord with a nice deep C bass.
Almost in tune too.
Let me take a moment, tune it and we'll fool around with Drop C a little bit.
So how does this sound?
Pretty good to me.
Like I said, Leonard C, Leonard Kwan is renowned for using this tuning.
It's named after him.
And several of his classic pieces where he composed or arranged in Drop C tuning.
Levered Kaupana uses this tuning a lot.
Plenty of guys who play in G use Drop C often because it's so easy to get in and out between G and C.
And being that far apart, halfway around the scale, it covers a lot of ground.
It lets you cover a lot of ground with one string change.
So let's go through the spelling of Drop C.
Now we start with the low string again, the number 6 string.
And we've dropped it from a D down to a C.
[G] And the rest of it is the same as G major tuning, the tarot patch tuning.
There's a G, [D] there's a D, which is not in the C chord [E] of course.
That's why we always have a finger here to [F#] turn that D into an E.
[G] Then the G, which is part of the C chord on the third string.
[B] The second string is still B, just like it was in the G tuning.
And that's what makes this a wahine tuning.
That's the major 7 in C, so we can [G] go
[C]
That hammer-on to the tonic to the [G] 1 is one of the characteristics of a wahine [C] tuning.
[C] [F] And lovely [C] sound it is indeed.
And then the last note is also a D, the first string, the thin one, the high-pitched one.
And so we almost always have a finger on there to turn that into the E, which is the third in the key of C.
So there's our C chord.
Now there's an [F] F chord, the IV chord.
You often need that.
No good bass for that, so a lot of times we only play these four strings to play this F chord.
[C] Sometimes I'll throw in the low C, because that's in the chord after all.
[F] But it sounds a little odd sometimes.
I use it judiciously.
And then, once again, the V chord is a rowdy, strong, handy, good chord, because it's G.
And we now know a bunch of licks in G from playing in tarot patch.
So those licks become G V chord licks in the key of C.
[G]
[C] [G]
And there are inners and outers, I guess you'd call them.
Open and closed positions.
[C] [G] [C]
[G] It's a lot of fun.
A lot of fun.
So if you play tarot patch and you're looking for the next step,
I strongly recommend getting the guitar into drop C and fooling around with it.
[D]
[D] As a slack key player, I tend to use open G tuning a lot.
That's a G major chord spelled from low to high.
D, the 5 note, [G] G, the 1, [D] D [G] again, another 5, another G, another [F#] 1.
In the third, [G] the B is on the B string, the second string.
And the first string, the thinnest, the [D] highest pitch, is another D, another 5 [G] note.
So we play the major 1 chord, the tonic, the G, by playing those 5 [D] strings.
And then we have a D for our bass on the D chord, D7.
And I think one of the reasons [D] open G tuning is so powerful and wonderful to play in is the strong 5 chord, the strong D7 chord.
There's [G] also a handy C.
[C] That sounds [G] pretty good, even though there's no C bass, we just use a G for the bass.
Or we [C] can barre, of course, any chord.
Since it's an open [F#] major chord, any chord can be played just by putting a barre at the right fret.
So at the 5th fret, [C] we have [G] a C.
But when we want to change keys, the 5th fret is about as far as we want to go.
We can have a G, we can have G sharp and A, A sharp or B flat, B.
And when we get to a C, we're getting right into the ukulele range, which is important for slack key people.
We want to stay away from the ukulele range.
Let them have the high plinky stuff and we get the nice warm juicy stuff.
So there are different ways to fool around with the G tuning and get other keys out of the G tuning.
The classic is called Drop C or [D#] C wahine or Leonard C.
It's a variation on the G tuning.
It seems to be very old.
I think there are recordings from the 40s using this tuning.
All you do is [D] drop this bottom string from a D down to a C.
I like to go E [C] C [D] D E C E C [C] E C.
I have a tuner but I don't use it.
So something like that.
It's not quite perfect but in that ballpark.
Now we have not an open chord.
You have to hold down some strings to have the one, the tonic, the name of the key.
But it's a nice C chord with a nice deep C bass.
Almost in tune too.
Let me take a moment, tune it and we'll fool around with Drop C a little bit.
So how does this sound?
Pretty good to me.
Like I said, Leonard C, Leonard Kwan is renowned for using this tuning.
It's named after him.
And several of his classic pieces where he composed or arranged in Drop C tuning.
Levered Kaupana uses this tuning a lot.
Plenty of guys who play in G use Drop C often because it's so easy to get in and out between G and C.
And being that far apart, halfway around the scale, it covers a lot of ground.
It lets you cover a lot of ground with one string change.
So let's go through the spelling of Drop C.
Now we start with the low string again, the number 6 string.
And we've dropped it from a D down to a C.
[G] And the rest of it is the same as G major tuning, the tarot patch tuning.
There's a G, [D] there's a D, which is not in the C chord [E] of course.
That's why we always have a finger here to [F#] turn that D into an E.
[G] Then the G, which is part of the C chord on the third string.
[B] The second string is still B, just like it was in the G tuning.
And that's what makes this a wahine tuning.
That's the major 7 in C, so we can [G] go
[C]
That hammer-on to the tonic to the [G] 1 is one of the characteristics of a wahine [C] tuning.
[C] [F] And lovely [C] sound it is indeed.
And then the last note is also a D, the first string, the thin one, the high-pitched one.
And so we almost always have a finger on there to turn that into the E, which is the third in the key of C.
So there's our C chord.
Now there's an [F] F chord, the IV chord.
You often need that.
No good bass for that, so a lot of times we only play these four strings to play this F chord.
[C] Sometimes I'll throw in the low C, because that's in the chord after all.
[F] But it sounds a little odd sometimes.
I use it judiciously.
And then, once again, the V chord is a rowdy, strong, handy, good chord, because it's G.
And we now know a bunch of licks in G from playing in tarot patch.
So those licks become G V chord licks in the key of C.
[G]
[C] [G]
And there are inners and outers, I guess you'd call them.
Open and closed positions.
[C] [G] [C]
[G] It's a lot of fun.
A lot of fun.
So if you play tarot patch and you're looking for the next step,
I strongly recommend getting the guitar into drop C and fooling around with it.
[D]
Key:
G
C
D
F#
F
G
C
D
_ [D] _ _ _ _ _ [G] _ _
_ _ _ [D] As a slack key player, I tend to use open G tuning a lot.
That's a G major chord spelled from low to high.
D, the 5 note, [G] G, the 1, [D] D [G] again, another 5, another G, another [F#] 1.
In the third, [G] the B is on the B string, the second string.
And the first string, the thinnest, the [D] highest pitch, is another D, another 5 [G] note.
So we play the major 1 chord, the tonic, the G, by playing those _ 5 [D] strings.
And then we have a D for our bass on the D chord, D7.
And I think one of the reasons [D] open G tuning is so powerful and wonderful to play in is the strong 5 chord, the strong D7 chord.
There's [G] also a handy C.
[C] That sounds [G] pretty good, even though there's no C bass, we just use a G for the bass.
_ Or we [C] can barre, of course, any chord.
Since it's an open [F#] major chord, any chord can be played just by putting a barre at the right fret.
So at the 5th fret, [C] we have [G] a C.
But when we want to change keys, the 5th fret is about as far as we want to go.
We can have a G, we can have G sharp and A, A sharp or B flat, B.
And when we get to a C, we're getting right into the ukulele range, which is important for slack key people.
We want to stay away from the ukulele range.
Let them have the high plinky stuff and we get the nice warm juicy stuff.
_ So there are different ways to fool around with the G tuning and get other keys out of the G tuning.
The classic is called Drop C or [D#] C wahine or Leonard C.
_ _ It's a variation on the G tuning.
It seems to be very old.
I think there are recordings from the 40s using this tuning.
All you do is [D] drop this bottom string _ from a D down to a C.
I like to go E [C] C [D] D E C E C [C] E C. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ I have a tuner but I don't use it.
_ So something like that.
It's not quite perfect but in that ballpark. _
Now we have not an open chord.
You have to hold down some strings to have the one, the tonic, the name of the key.
But it's a nice C chord with a nice deep C bass.
_ Almost in tune too.
Let me take a moment, tune it and we'll fool around with Drop C a little bit.
So how does this sound? _ _ _ _ _ _
_ Pretty good to me.
_ Like I said, Leonard C, Leonard Kwan is renowned for using this tuning.
It's named after him.
And several of his classic pieces where he composed or arranged in Drop C tuning.
Levered Kaupana uses this tuning a lot.
Plenty of guys who play in G use Drop C often because it's so easy to get in and out between G and C.
And being that far apart, halfway around the scale, it covers a lot of ground.
It lets you cover a lot of ground with one string change.
So let's go through the spelling of Drop C.
_ Now we start with the low string again, the number 6 string.
And we've dropped it from a D down to a C. _
[G] And the rest of it is the same as G major tuning, the tarot patch tuning.
There's a G, [D] there's a D, which is not in the C chord [E] of course.
That's why we always have a finger here to [F#] turn that D into an E.
[G] Then the G, which is part of the C chord on the third string.
[B] The second string is still B, just like it was in the G tuning.
And that's what makes this a wahine tuning.
That's the major 7 in C, so we can [G] _ go_
[C] _ _
_ _ That hammer-on to the tonic to the [G] 1 is one of the characteristics of a wahine [C] tuning. _ _ _ _
[C] _ _ [F] And lovely [C] sound it is indeed.
And then the last note is also a D, the first string, the thin one, the high-pitched one.
And so we almost always have a finger on there to turn that into the E, which is the third in the key of C.
So there's our C chord.
Now there's an [F] F chord, the IV chord.
You often need that.
No good bass for that, so _ a lot of times we only play these four strings to play this F chord.
[C] Sometimes I'll throw in the low C, because that's in the chord after all.
[F] _ But it sounds a little odd sometimes.
I use it judiciously.
And then, once again, the V chord is a rowdy, strong, handy, good chord, because it's G.
And we now know a bunch of licks in G from playing in tarot patch.
So those licks become G V chord licks in the key of C.
_ _ [G] _ _ _ _ _
_ _ _ [C] _ _ [G] _ _ _
And there are _ inners and outers, I guess you'd call them.
Open and closed positions. _ _ _ _
_ [C] _ _ _ _ [G] _ _ [C] _
_ _ [G] It's a lot of fun.
A lot of fun.
So if you play tarot patch and you're looking for the next step,
I strongly recommend getting the guitar into drop C and fooling around with it.
[D] _ _ _
_ _ _ [D] As a slack key player, I tend to use open G tuning a lot.
That's a G major chord spelled from low to high.
D, the 5 note, [G] G, the 1, [D] D [G] again, another 5, another G, another [F#] 1.
In the third, [G] the B is on the B string, the second string.
And the first string, the thinnest, the [D] highest pitch, is another D, another 5 [G] note.
So we play the major 1 chord, the tonic, the G, by playing those _ 5 [D] strings.
And then we have a D for our bass on the D chord, D7.
And I think one of the reasons [D] open G tuning is so powerful and wonderful to play in is the strong 5 chord, the strong D7 chord.
There's [G] also a handy C.
[C] That sounds [G] pretty good, even though there's no C bass, we just use a G for the bass.
_ Or we [C] can barre, of course, any chord.
Since it's an open [F#] major chord, any chord can be played just by putting a barre at the right fret.
So at the 5th fret, [C] we have [G] a C.
But when we want to change keys, the 5th fret is about as far as we want to go.
We can have a G, we can have G sharp and A, A sharp or B flat, B.
And when we get to a C, we're getting right into the ukulele range, which is important for slack key people.
We want to stay away from the ukulele range.
Let them have the high plinky stuff and we get the nice warm juicy stuff.
_ So there are different ways to fool around with the G tuning and get other keys out of the G tuning.
The classic is called Drop C or [D#] C wahine or Leonard C.
_ _ It's a variation on the G tuning.
It seems to be very old.
I think there are recordings from the 40s using this tuning.
All you do is [D] drop this bottom string _ from a D down to a C.
I like to go E [C] C [D] D E C E C [C] E C. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ I have a tuner but I don't use it.
_ So something like that.
It's not quite perfect but in that ballpark. _
Now we have not an open chord.
You have to hold down some strings to have the one, the tonic, the name of the key.
But it's a nice C chord with a nice deep C bass.
_ Almost in tune too.
Let me take a moment, tune it and we'll fool around with Drop C a little bit.
So how does this sound? _ _ _ _ _ _
_ Pretty good to me.
_ Like I said, Leonard C, Leonard Kwan is renowned for using this tuning.
It's named after him.
And several of his classic pieces where he composed or arranged in Drop C tuning.
Levered Kaupana uses this tuning a lot.
Plenty of guys who play in G use Drop C often because it's so easy to get in and out between G and C.
And being that far apart, halfway around the scale, it covers a lot of ground.
It lets you cover a lot of ground with one string change.
So let's go through the spelling of Drop C.
_ Now we start with the low string again, the number 6 string.
And we've dropped it from a D down to a C. _
[G] And the rest of it is the same as G major tuning, the tarot patch tuning.
There's a G, [D] there's a D, which is not in the C chord [E] of course.
That's why we always have a finger here to [F#] turn that D into an E.
[G] Then the G, which is part of the C chord on the third string.
[B] The second string is still B, just like it was in the G tuning.
And that's what makes this a wahine tuning.
That's the major 7 in C, so we can [G] _ go_
[C] _ _
_ _ That hammer-on to the tonic to the [G] 1 is one of the characteristics of a wahine [C] tuning. _ _ _ _
[C] _ _ [F] And lovely [C] sound it is indeed.
And then the last note is also a D, the first string, the thin one, the high-pitched one.
And so we almost always have a finger on there to turn that into the E, which is the third in the key of C.
So there's our C chord.
Now there's an [F] F chord, the IV chord.
You often need that.
No good bass for that, so _ a lot of times we only play these four strings to play this F chord.
[C] Sometimes I'll throw in the low C, because that's in the chord after all.
[F] _ But it sounds a little odd sometimes.
I use it judiciously.
And then, once again, the V chord is a rowdy, strong, handy, good chord, because it's G.
And we now know a bunch of licks in G from playing in tarot patch.
So those licks become G V chord licks in the key of C.
_ _ [G] _ _ _ _ _
_ _ _ [C] _ _ [G] _ _ _
And there are _ inners and outers, I guess you'd call them.
Open and closed positions. _ _ _ _
_ [C] _ _ _ _ [G] _ _ [C] _
_ _ [G] It's a lot of fun.
A lot of fun.
So if you play tarot patch and you're looking for the next step,
I strongly recommend getting the guitar into drop C and fooling around with it.
[D] _ _ _