Banjos can be tuned using either a microphone-based tuner or vibration-based physical tuner; the latter mounts to the headstock and detects string vibrations to find their pitch.
To tune a string by ear, pluck it with both fingers simultaneously before comparing that note with your reference note.
G
Tuning a banjo using an online or app-based tuner that detects vibrations caused by string resonations between strings is an easy and straightforward way to achieve tuning success. Most online and app-based tuners are intended for guitars, basses or ukeleles; however, some may also detect all notes in standard G tuning tuning mode.
Many five-string banjo players employ Open G tuning as their standard banjo tuning. This setting consists of G-D-G-B-D strings from lowest string up; making this arrangement ideal for traditional bluegrass music.
Some five-string banjo players also perform a modified G tuning, known as Sawmill Tuning or Sawmill Mode. This variation on standard G tuning features one note raised to C for its second string – making this alternative form ideal for folk music performances.
Some tenor banjos can also be tuned to an alternate variant of G tuning known as Double C tuning, consisting of G-D-G-B-D with the fifth string tuned down to C. This tuning works particularly well when accompanying fiddle tunes in G, especially those using capo on fret two; additionally it makes an excellent accompaniment for many D-centered songs such as Cumberland Gap or Buck Creek Girls.
D
When playing in D, ensure your open G string matches its fretted G string counterparts on both sides of the neck. Play the fourth fret of G string; open B string should match that note perfectly if necessary; if tuning is off, adjust accordingly.
Some musicians who enjoy jamming together will often play in one tuning for extended sessions without constantly retuning; this might be because they want a mixolydian or dorian sound and standard GDAE doesn’t work well with these sounds.
Others may prefer the sound of a D-tuned banjo. Still, I recommend learning some songs with different tunings regardless of knowing why or why not; this will broaden your repertoire while improving ear skills.
Banjo players frequently employ an alternative tuning known as “drop C”, or C-tune, which involves dropping the low D to C instead of D and is especially suited for old time clawhammer music as it makes accompaniment easier in keys outside a player’s vocal range with standard G tuning.
C
Modern 5-string pickers tend to favor Open G tuning, so switching over to C tuning may prove challenging at first. However, it offers advantages that could prove invaluable if they wish to venture into other keys in the future.
First of all, this tuning will give you more options for accompaniment. Accompanying singers can be difficult when using only standard G tuning a banjo; C tuning makes the key much more suitable to most vocalists’ singing voice as it offers different sounds that could prove intriguing.
C is also useful because it enables you to play more of the old-time music you’ve always enjoyed in that key. Some musicians employ traditional tunings like G minor and D mixolydian; while others might prefer standard tenor banjo tuning (G, D, A, D). C is often chosen by these players and gives tunes a unique flair that won’t alienate their audiences.
A
Some banjo players opt to tune their strings slightly higher than standard G. This technique, known as Double C tuning or gCdGaEb, is popular with tenor banjos and can sound great when played correctly with fingering techniques that work. Furthermore, its string tension will feel less tight.
People tend to find this tuning more suitable when playing clawhammer; however, fiddlers who prefer their regular GDAE tuning may prefer it over it.
The chord shapes remain the same, while notes are three half-steps lower than standard G tuning. This can make things slightly difficult at first as picked notes may reverberate sharply before becoming slightly flat before reaching their intended pitch – taking some practice to master.
Low D tuning of one string is commonly known as “low string.” It can be played alone or combined with the other three strings and gives off an distinctive droning sound; examples include Land Norris’ Charming Betsy; Chesley Chancey’s Mulberry Gap from “Mountain Banjo Songs and Tunes”, plus jazz adaptation fCFCD by Mike Seeger & Alice Gerrard (“Mike Seeger & Alice Gerrard”); Molly Tenenbaum’s Cumberland Gap (“And the Hillsides Are All Covered With Cakes”). Drop C tuning involves dropping half step to C tuning; which creates its unique sound.
B
Banjo players typically employ Open G tuning as their standard tuning. It produces an upbeat, lively tone. Some musicians opt to tune their first string up to C note for G Modal or Mountain Minor Tuning which gives it a minor droning sound similar to standard G tuning; it may also accompany A-modal fiddle tunes.
Some bluegrass players utilize Drop C tuning (also referred to as C tuning) when tuning their second string to Bb; this produces a D chord with G-C-D-A strings tuned down a half step from standard. Earl Scruggs often used this tuning when performing Home Sweet Home in this tuning on his recordings; Chesley Chancey used this tuning too when performing Shoot the Turkey Buzzard and Cumberland Gap (both heard on “Folk Visions & Voices, Vol. 2”).
Electronic banjo tuners can be useful tools in becoming acquainted with different tunings, but developing your own sense of pitch is equally essential to mastering them. By keeping your fingers high up above the fingerboard in a claw shape and close to the strings you can identify when strings become sharp or flat and correct any problems without external assistance from machines.
E
As any banjo player knows, having access to a good quality chromatic tuner is absolutely essential; however, developing the ability to tune by ear is also vitally important. A chromatic tuner gives you a green light when your string is in tune, but it is easy to mistakenly focus on one note (usually G) and assume you are tuning to its correct pitch when in reality the string could be sharp or flat!
One way to develop this skill is by picking each string and listening to what sound it makes before trying to match its sound with piano keys, tin whistles or tuning forks. Starting out by starting on bass string G is often easiest; then work your way upward as your confidence grows.
Certain banjo players prefer a major tuning for certain songs. For instance, Kentucky tunes such as Sawmill or Pretty Polly don’t work so well in G tuning; therefore using a Modal Tuning like D is preferable. Earl Scruggs often used this tuning on his songs such as Reuben; simply tuning down one half step from open G to create a major sound.
F
As players learn tunes for specific styles of banjo playing, various tunings may be employed by banjo players. Some vary from standard G tuning while others can be completely unique. Each person may select their desired tuning based on personal preference; others prefer learning tunes using multiple tunings before settling on one as their main solution.
Sawmill tuning (gCDBD), for instance, features two string pitches lowered to C and raised one string to D – making this popular among old time clawhammer players.
Earl Scruggs often used this tuning, and you can hear him do so on his recording of Home Sweet Home. Drop C Tuning (G, C, B, D) is another variation on this tuning that lowers the fourth string one step from D to C; Bela Fleck uses this tuning when performing Natchez Trace.
If you want to try tuning your banjo using alternative tunings other than standard G tuning, listen to several examples of the style in which you wish to imitate and listen for which sounds best; once this has been established, adjust the tuning until it satisfies you.