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• Atta’s C tuning •

C-G-E-G-C-E • OVERVIEW • An Open C variant with an odd structure, mixing tense upwindings (4str) with radical slackenings (6str). Associated with the great Hawaiian master Leland ‘Atta’ Isaacs Sr. (1929–1983), who used it to inject fresh, jazzy voicings into the slack-key music of his era.   Beautifully concise: only three notes are used, but […]

 

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• C6 (‘Mauna Loa’) tuning •

C-G-C-G-A-E • OVERVIEW • A C6 known in Hawaiian kī hō’alu (‘slack-key’) guitar as C ‘Mauna Loa’ – the name of the world’s largest active volcano, which has erupted non-stop since rising from the Pacific seabed over 400,000 years ago.   The tuning’s regular stack of three perfect 5ths brings a similarly balanced stability (6>5, 4>3, […]

 

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• C Wahine (‘Keola’s C’) tuning •

C-G-D-G-B-E • OVERVIEW • An quick-to-reach Open C variant mixing 5ths, 4ths, and 3rds. Popular in Hawaii as ‘C Wahine’ (‘woman’) or ‘Keola’s C’ after modern slack-key legend Keola Beamer. The Honolulu maestro, who has long used it to explore fresh chord voicings and mellifluous natural harmonics (ho’opapa), hails it as “one of the easiest and […]

 

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• Square-Neck Dobro tuning •

G-B-D-G-B-D • OVERVIEW • Dobros, resonators, banjos, and 7-string ‘Russian guitars’ often take ‘repeated’ open G tunings – such as ‘looping’ a G-B-D maj triad sequence throughout all the strings in turn. Setting up your guitar this way narrows the open-string range to 19 semitones (5 fewer than Standard) – but the cycling regularity simplifies […]

 

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• Open G (‘Taro Patch’) tuning •

D-G-D-G-B-D • OVERVIEW • Resembles a Standard-tuned ‘0-0-2-2-2-0’ Amaj shape in terms of interval structure. Gives a more ambiguous resonance than the other ‘main’ maj-chord tuning – Open D – as its major triad is arranged in ‘inverted’ fashion, with the 5th (D) in the bass rather than the G root (which is on 5str). […]