Chords for Martin Carthy tunings
Tempo:
88.475 bpm
Chords used:
C
E
Bb
A
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bm]
[E]
[Bb] David Graham [C] invented Dabgut and it really changed thinking.
I never really liked it.
I mean, I [Cm] loved the initial noise that it made and I loved the way it changed the way
you had to think.
I loved that [C] because it was based on American mountain banjo tunings.
People say it's based on North African stuff, but it's the sound you get from what they
call it mountain miner tunings in the States, which of course come from West Africa.
That's
where the banjo comes from.
It was a black instrument.
You [A] still see people in [C] West Africa
playing in that particular style that the Americans call frailing or knockdown.
You
still see people doing it in West Africa.
It really sets up a chain of thought.
So given that sound that that mountain miner had and hearing Dabgut and realizing that
the two musics, various English and the various American musics, are characteristic.
Each
one is characteristic of England and America, but there are links.
There's a link.
I loved
the idea that you could play some of these odder tunes in this [Am] kind of a tuning, but
the tuning always confused me because I [Ab] always used to like to work on the middle four strings
and Dabgut made me work on the top four.
So what I did was I just basically sat up and
played with the guitar all night and adapted Dabgut to what I wanted, which meant dropping
it a fourth as a matter of fact, and then adjusting the strings [C] to what sounded nice
and played like that for a long time.
[Fm] The tuning was [C] D-A-D-E-A-E.
After a [D] while I was
trying to play a particular [G] song.
[Cm] It necessitated tuning the top string down to B, so it was
D-A-D
[Am] -E [C] -A [Am]
-B.
[C] I played the song I wanted to play and it was absolutely wonderful.
I opened
my mouth to sing it and I couldn't because it was too high, so I dropped the whole thing,
the whole tone.
So I now have C-G [Dm]-C-D-G-A, [C] if that makes any sense to you.
[G] It makes you
think differently, makes you think more melodically.
[C] You don't have that many chords.
The chords
[Bb] you do have are spectacular.
[E] They're very beautiful.
[D] They're very beautiful voicings
[E] of chords, [Gm] but you [C] don't have the variety.
That, [A] in normal tuning, [Em]
that's an orchestra
and it's fantastic.
It sits [A] in your lap and this is an orchestra.
But it can't do the
one thing I want it to do, which is play those tunes, play those songs.
I [Bb] say that with huge
confidence.
There are guitar players now who can do it.
[G] I just have to grind my teeth and
get on with the sound I like.
[C]
[E]
[Bb] David Graham [C] invented Dabgut and it really changed thinking.
I never really liked it.
I mean, I [Cm] loved the initial noise that it made and I loved the way it changed the way
you had to think.
I loved that [C] because it was based on American mountain banjo tunings.
People say it's based on North African stuff, but it's the sound you get from what they
call it mountain miner tunings in the States, which of course come from West Africa.
That's
where the banjo comes from.
It was a black instrument.
You [A] still see people in [C] West Africa
playing in that particular style that the Americans call frailing or knockdown.
You
still see people doing it in West Africa.
It really sets up a chain of thought.
So given that sound that that mountain miner had and hearing Dabgut and realizing that
the two musics, various English and the various American musics, are characteristic.
Each
one is characteristic of England and America, but there are links.
There's a link.
I loved
the idea that you could play some of these odder tunes in this [Am] kind of a tuning, but
the tuning always confused me because I [Ab] always used to like to work on the middle four strings
and Dabgut made me work on the top four.
So what I did was I just basically sat up and
played with the guitar all night and adapted Dabgut to what I wanted, which meant dropping
it a fourth as a matter of fact, and then adjusting the strings [C] to what sounded nice
and played like that for a long time.
[Fm] The tuning was [C] D-A-D-E-A-E.
After a [D] while I was
trying to play a particular [G] song.
[Cm] It necessitated tuning the top string down to B, so it was
D-A-D
[Am] -E [C] -A [Am]
-B.
[C] I played the song I wanted to play and it was absolutely wonderful.
I opened
my mouth to sing it and I couldn't because it was too high, so I dropped the whole thing,
the whole tone.
So I now have C-G [Dm]-C-D-G-A, [C] if that makes any sense to you.
[G] It makes you
think differently, makes you think more melodically.
[C] You don't have that many chords.
The chords
[Bb] you do have are spectacular.
[E] They're very beautiful.
[D] They're very beautiful voicings
[E] of chords, [Gm] but you [C] don't have the variety.
That, [A] in normal tuning, [Em]
that's an orchestra
and it's fantastic.
It sits [A] in your lap and this is an orchestra.
But it can't do the
one thing I want it to do, which is play those tunes, play those songs.
I [Bb] say that with huge
confidence.
There are guitar players now who can do it.
[G] I just have to grind my teeth and
get on with the sound I like.
[C]
Key:
C
E
Bb
A
Am
C
E
Bb
_ _ _ _ [Bm] _ _ _ _
[E] _ _ _ _ _ _ _ _
_ _ [Bb] David Graham [C] invented Dabgut and it really changed thinking. _ _ _
_ _ _ _ _ I never really liked it.
I mean, I [Cm] loved the initial noise that it made and I loved the way it changed the way
you had to think.
I loved that [C] _ because it was based on American _ _ _ _ _ mountain banjo tunings.
_ People say it's based on North African stuff, but it's the sound you get from _ what they
call it mountain miner tunings in the States, which of course come from West Africa. _
That's
where the banjo comes from.
It was _ a _ black instrument.
_ You [A] still see people in [C] West Africa
playing in that particular style that the Americans call frailing or knockdown.
You
still see people doing it in West Africa.
_ _ _ It really sets up a _ _ _ _ chain of thought.
_ _ _ So given that sound that that mountain miner had and hearing Dabgut and realizing that
the _ two musics, _ _ various English and the various American musics, _ _ are characteristic.
Each
one is characteristic of England and America, but there are links.
_ There's a link. _ _
_ _ _ I loved
the idea that you could play some of these odder tunes in this [Am] kind of a tuning, but
the tuning always confused me because I [Ab] always used to like to work on the middle four strings
and Dabgut made me work on the top four.
So what I did was I just basically sat up and
played with the guitar all night and adapted Dabgut to what I wanted, which meant dropping
it a fourth as a matter of fact, and then adjusting the strings [C] to what sounded nice
and played like that for a long time.
[Fm] The tuning was [C] D-A-D-E-A-E.
_ After a [D] while I was
_ trying to play a particular [G] song.
_ [Cm] It necessitated tuning the top string down to _ B, so it was
D-A-D _
[Am] _ -E [C] _ _ -A [Am]
-B.
[C] I played the song I wanted to play and it was absolutely wonderful.
I opened
my mouth to sing it and I couldn't because it was too high, so I dropped the whole thing,
the whole tone.
So I now have C-G [Dm]-C-D-G-A, [C] if that makes any sense to you. _
[G] It makes you
think differently, _ makes you think more melodically.
[C] _ _ _ You don't have that many chords.
The chords
[Bb] you do have are spectacular.
[E] They're very beautiful. _
[D] They're very beautiful voicings
[E] of chords, [Gm] but you [C] don't have the variety.
_ That, [A] in normal tuning, [Em]
that's an orchestra
and it's fantastic.
It sits [A] in your lap and this is an orchestra.
But it can't do _ the
one thing I want it to do, which is play those tunes, play those songs.
_ I [Bb] _ say that with huge
confidence.
There are guitar players now who can do it.
[G] I just have to grind my teeth and
get on with the sound I like.
[C] _
[E] _ _ _ _ _ _ _ _
_ _ [Bb] David Graham [C] invented Dabgut and it really changed thinking. _ _ _
_ _ _ _ _ I never really liked it.
I mean, I [Cm] loved the initial noise that it made and I loved the way it changed the way
you had to think.
I loved that [C] _ because it was based on American _ _ _ _ _ mountain banjo tunings.
_ People say it's based on North African stuff, but it's the sound you get from _ what they
call it mountain miner tunings in the States, which of course come from West Africa. _
That's
where the banjo comes from.
It was _ a _ black instrument.
_ You [A] still see people in [C] West Africa
playing in that particular style that the Americans call frailing or knockdown.
You
still see people doing it in West Africa.
_ _ _ It really sets up a _ _ _ _ chain of thought.
_ _ _ So given that sound that that mountain miner had and hearing Dabgut and realizing that
the _ two musics, _ _ various English and the various American musics, _ _ are characteristic.
Each
one is characteristic of England and America, but there are links.
_ There's a link. _ _
_ _ _ I loved
the idea that you could play some of these odder tunes in this [Am] kind of a tuning, but
the tuning always confused me because I [Ab] always used to like to work on the middle four strings
and Dabgut made me work on the top four.
So what I did was I just basically sat up and
played with the guitar all night and adapted Dabgut to what I wanted, which meant dropping
it a fourth as a matter of fact, and then adjusting the strings [C] to what sounded nice
and played like that for a long time.
[Fm] The tuning was [C] D-A-D-E-A-E.
_ After a [D] while I was
_ trying to play a particular [G] song.
_ [Cm] It necessitated tuning the top string down to _ B, so it was
D-A-D _
[Am] _ -E [C] _ _ -A [Am]
-B.
[C] I played the song I wanted to play and it was absolutely wonderful.
I opened
my mouth to sing it and I couldn't because it was too high, so I dropped the whole thing,
the whole tone.
So I now have C-G [Dm]-C-D-G-A, [C] if that makes any sense to you. _
[G] It makes you
think differently, _ makes you think more melodically.
[C] _ _ _ You don't have that many chords.
The chords
[Bb] you do have are spectacular.
[E] They're very beautiful. _
[D] They're very beautiful voicings
[E] of chords, [Gm] but you [C] don't have the variety.
_ That, [A] in normal tuning, [Em]
that's an orchestra
and it's fantastic.
It sits [A] in your lap and this is an orchestra.
But it can't do _ the
one thing I want it to do, which is play those tunes, play those songs.
_ I [Bb] _ say that with huge
confidence.
There are guitar players now who can do it.
[G] I just have to grind my teeth and
get on with the sound I like.
[C] _