The cycle of fifths put to very good use, I’d say.”. Stu’s liner-notes tell us that one day he cornered Uncle Dave Macon backstage at the Grand Ol’ Opry and obtained the tuning for this song, along with some ‘handy hints’ – which Stu does not divulge. The arpeggiated intro is beautiful and not overly challenging. Jack Bunch, Not a Flower on Dogwood Flats (“Old Time Banjo Pieces”). Fred Cockerham, Little Satchel, tuned up to the key of E (“Down to the Cider Mill”; “Brandywine 1974: The Galax Sound”. Download GuitarPro file. Nine. A mando-cello will work here quite well). Tommy Jarrell & Paul Brown, Roundtown Gals (“Appalachia, The Old Traditions, vol 2”). (N.B. Jane Keefer, Joshua Fit the Battle of Jericho (Tab, BNL, Mar 1980). Ola Belle Reed, Boat’s Up the River; Doney Where You Been So Long (“Old Time Banjo in America”). The chord sequence for the A part of the tune is Bm/F#m/Bm/G/A/D/F#m/Bm/A/G…, George Landers, Rolling Mills Are Burning Down (“High Atmosphere”). The official Facebook Page of William Patrick Corgan www.wpccodex.com Guitar Tab. The Kimble Family, Gypsy Girl (“Pine Knots School Rowdies”). On a multiple-neck instrument, the near neck will normally be some form of C6, and the next closest neck E9. Guitars: Fender Strat – Billy Corgan Signature and Gibson Les Paul Studio . Benford discusses this major/minor tuning in BNL, May 1977. On the tape I have, the banjo is tuned even lower, to something like bF#F#G#B. All Reverend solidbody guitars in the Bolt-On series feature a low profile, angled neck heel. Rick Abrams, Yeller Cat (“Piney Creek Weasels: Squirrel Heads & Gravy”). Eight wire-strung courses tuned like a Lute, plus about 15 diatonic bass strings on a harp frame, similar to the Harp-Guitar of the early 1900’s in the USA. Dirk Powell, Dirk’s Escape (on Mark Simos, “Race the River Jordan”). BILLY CORGAN SIGNATURE. Mac Benford, Maggie Walker Blues, in E (“Highwoods String Band: No. For example, guitarists such as Trey Azagthoth of Morbid Angel fame has utilized this on seven string guitars. Dwight Diller, John Henry Blues (“Harvest: West. Buell Kazee, Look Up Look Down That Lonesome Road; Jay Gould’s Daughter (“Buell Kazee”). Kimble Family, Goin’ Down to Raleigh (Silly Bill) (“Carroll County Pioneers”). All of this adds up to an instrument with a voice so singular that it should be considered an entirely different type of guitar, like a baritone or a twelve-string. Yamaha reintroduced to the U.S. a limited run of its LJ6R and LJ16R jumbo acoustic guitars, highlighting this special-edition custom guitar LJ16BC designed in collaboration with artist Billy Corgan. )” To obtain the D-chord, fret 4th string at 3rd fret and 3rd string at 2nd fret. Molly Tenenbaum, Jack O’ Diamonds (“And the Hillsides Are All Covered with Cakes”). Joel Mabus, Kitchen Girl; Hen House Door “Clawhammer”). To tune to this tuning on a standard six string guitar the low E string is lowered to a B; the A string is lowered to a D, the D string is left the same, the G string is lowered to a D, the B string is raised to a D, and the high E string is lowered to a D. On some guitars this may require obtaining a thicker low E string than is usual to obtain a full sound when tuned down to B, and avoid the string slapping the fret board. Billy Corgan. Art Rosenbaum, John Henry (“Five String Banjo”). Even though some tunings could be named by “theory” they might lack the gravity or musical cohesion to really represent that chord. This revolutionary design from Reverend founder Joe Naylor delivers exceptional clarity and punch, that will get you heard loud and clear! When you set out to do something this epic, you don’t repeat yourself. Railhammer Billy Corgan signature pickups Seven wire-strung courses tuned in “old” Lute tuning, plus 8 open bass strings on a harp frame. On the BC-1 there are strategic chambers under the pickguard to add even more resonance and reduce weight. (The sleeve notes on this recording mistakenly, I believe, give the tuning as fCFAD.) Matokie Slaughter, Big Eyed Rabbit (“Saro”). Molly Tenenbaum, Cumberland Gap (“And the Hillsides Are All Covered with Cakes”). George Gibson calls this the “Moonshiner” tuning, and says it’s good for songs like Knoxville Girl, as well as Moonshiner. The most dependable guitar jack available. Tony Trischka, China Grove For You, D (“Bluegrass Light”). Taj Mahal, Colored Aristocracy (“De Old Folks at Home”). 2nd, 3rd and 4th, “A”, “D”, and “F#”, are octaved), “new” tuning (Virdung ca. To determine what the normal – standard tuning is for a variety of instruments. Pete Steele, The Train A-Pulling. Equipment. Popularised by Davey Graham, who had been inspired by Arabic oud tuning while living in Morocco. Dock Boggs, Cumberland Gap (“Dock Boggs Vol 3”). John Cohen, Buck Creek Girls, fretless bjo (‘New Lost City Ramblers: There Ain’t No Way Out’). William Patrick Corgan - Amarinthe Standard Tuning - Capo 2 [Intro] Dsus2 Dsus2 Em Em Dsus2 Dsus2 Em Em Dsus2 Dsus2 Em Em Dsus2 Dsus2 Em Em [Verse] Dsus2 Em Dsus2 Dsus2 Em Em It brays, it slays, it neighs at most when fleet Dsus2 Em Adorned by morns and may, I spak my peace [Bridge] A Aut tugged along any dray colt Bm Sups his flowered seas A Bm Where daft desires … John Herrmann, Polly Grant; Brushy Fork of John’s Creek (“Dirk Powell & John Herrmann”). It belonged to Triclops studio where we tracked the record. Seeger uses the “E” as a melody note, very effectively. This type of tuning, regardless of the pitch, is often called “Vestapol tuning… Sidna Myers, Twin Sisters; Shady Grove (“Clawhammer Banjo vol 2”; also “High Atmosphere”). Peggy Seeger, Lonesome Road Blues. I read somewhere that Seeger picked up this tuning from an old country banjo player he encountered on his travels. A Tony Trischka C-tuning, lowered 5th string. It was written by Billy Corgan and James Iha and was recorded from December 1992 to March 1993 at Triclops Sound Studios. The open strings, which Sonny ‘chimes’ at the end of JHB, spell a ‘jazzy’-sounding Eb6 add9 chord (or Eb6/9). Also known as “One Step Lower” and “Whole Step Down”, this tuning is basically E Standard with all six strings tuned one whole step down. Earl Scruggs, Mama Blues (“Carnegie Hall Album”; tabs, BNL, Nov, Dec 1989). Dick Weissman, If He Had Stayed in Oregon (“Old-Time Banjo Modern Style”). Used to be one of the most widely used banjo tunings, and is a “standard” in bluegrass as well as old-time music. But these are in kind of a “middle ground” between standard Open Tunings and Altered Tunings. "Cherub Rock" was one of the last songs written for the album, and the lyrics relate to Corgan's relationship with his perception of the indie rock community and larger media. Benji Aronoff, Red Apple Juice (Sugar Baby); St. James Hospital (“The 2 Sides of Benji Aronoff”). Also the tuning on them was hit or miss with one knob that was hard to get in and stay in the sweet spot. Russian Open G: low-high; D-G-B-D-G-B-D (the standard tuning for the Russian seven string guitar). A A# B C C# D then E A D G B E (last 6 are standard guitar tuning), D down to F chomatically – 1 octave below lowest ‘F’ on 6 string guitar. Barry Hall, Lady Gay (“The Virtuoso 5-String Banjo”). Dick Weissman, East Virginia (“The Things That Trouble My Mind”). In BNL, Dec 1988, Ken Perlman discussed the use of this tuning for playing in B-flat and E-flat. Wade Ward, Peachbottom Creek, capo 3 to F (“The Music of Roscoe Holcomb & Wade Ward”). Having a “dropped D” effect in the bottom bass strings makes one finger chords easier. After years of capoing at the third fret, Billy Corgan suggested that we make an electric Terz – a 19th century instrument tuned to a minor third G-C-F-A#-D-G. This allows the guitarist to easily create the very harsh dissonance of the minor second. fBbFCD. The unusual gBbFBbD tuning is used for no other piece in the region [Cumberland Plateau, Kentucky].”. “Last Chance”/ alt. The Terz has a 21½” short scale neck allows this guitar be tuned high and give it a decent playable tension, so could be an interesting With a string-through body and a single Railhammer ‘Billy Corgan’ pickup, the design looks like a miniaturised BC-1 anyway, it has a roasted maple neck with pin lock tuners to hold tuning stability. "Samantha" is a song by the American alternative rock band Hole. Eric Mintz, Peachbottom Creek (Tab, Ken Perlman’s in “Clawhammer Style Banjo”). These open tunings offer much room for experiment, but can only be used in a few keys. Tommy Jarrell, John Brown’s Dream (“More Clawhammer Banjo”). Ron Mullennex, Turkey in the Straw; Houston (“Sugar in My Coffee”). Tune to gEGBD (see above) and capo at 1st fret. Gaither Carlton, Little Birdie (“Clawhammer Banjo”). Dobro Open G: low-high; G-B-D-G-B-D (occasionally adopted for ordinary guitar, but requires lighter fifth and sixth strings; Only square-necked resonator guitars can hold this tuning with standard gauges). Bill Keith, Footprints in the Snow (“Muleskinner”; tab, BNL, Jan 1989). For the C-chord, fret 1st string at 2nd fret, 2nd string at 3rd fret. N.B. Stu Jamieson, The Wicked Wife (” Banjos, Lamas & Bagpipes”). Benji Aronoff, Shady Grove (“The Two Sides of Benji Aronoff”). His motivation to push himself and the Smashing Pumpkins band members to their limits, spending at times 16 hour days in the studio, was largely successful. Recommended by The Wall Street Journal What George Gibson calls “Oma Wise” tuning, from his father’s playing of this song. Pete Seeger, All the Pretty Little Horses ( “How to Play…”). But in bluegrass music, open G can mean G B D G B D. Generally, Open Tunings refer to the changing of string pitches to reproduce common Major and Minor chords. Clyde Davenport, Sugar in My Coffee-O (“Puncheon Camps”). Black Sabbath used this tuning on many of their earlier albums. When you set out to do something this epic, you don’t repeat yourself. Standard tuning is used by most guitarists, and frequently used tunings can be understood as variations on standard tuning. Robb Goldstein, Bonaparte Crossing the Delaware (Tab, BNL, Oct 1986). This allows for Corgan to play the chord formations with all strings being played. Known both as “Wade Ward’s Fox Chase Tuning” and “Rufus Crisp’s Brighter Day Tuning”. Now one of the commonest tunings in clawhammer style, above all for playing with “D” fiddle tunes. Doc Watson, Rambling Hobo (“Memories”). Ron Mullennex, Dead Man’s Piece (“Old Five String”). Fender Artist Series guitars are named for guitar legends and built to their specs. One accurate version. Mark Rader, from Joe Mullins, The Blues Are Still the Blues, key of B (Tab, BNL, Feb 1994). On sleeve notes for this recording, Art Rosenbaum says that Reynolds learned this archaic tuning, dating from the Spanish American War, from his father. In the article accompanying the tab of Unger’s original composition, Ken Perlman discusses some features of the f#BEAD tuning & notes that Unger’s tune manages to avoid its usual cliches. Cathy Fink, Wild Hog in the Woods/ Safe Harbor Rag (“Banjo Haiku”). Fred Cockerham, Frankie Baker (“High Atmosphere”, CD reissue only. He gives his source as “Josh Thomas of Hollins, VA, an exceptional blind black banjo picker and singer”, who was recorded in 1970 by Cliff Endress. This is a tuning devised by Robert Fripp of King Crimson, used by most Guitar Craft students around the world. This tuning is the same as dropped D, but each string is lowered an additional whole step, or two semitones. Dock Boggs, Coke Oven March; Ruben’s Train (“Dock Boggs Vol 3”). Heavier gauge strings are required for this tuning, which may also require widening the string grooves in the nut of the guitar as well as re-adjusting the tension in the neck. Music from the Cumberland Plateau, vol 1″). (4th string, in higher octave, re-entrant tuning), A D F# B Full step up (4th string, “A”, in higher octave, re-entrant tuning), D G B E (Like the upper 4 strings on a guitar), (South American version. Short Scale. Molly Tenenbaum, Long Time Traveling Here Below, capo 3 (“And the Hillsides Are All Covered with Cakes”). Often heard in this tuning: Cumberland Gap; Sandy River Belles; Stoney Point. It is also used extensively in classical guitar music and transcriptions since it allows open strings to sound the tonic and dominant as part of the bassline in the keys of D and D minor. Huw Price-1st December 2020. ), G D G D (in bass range. Chords: D/G/Bm. Cathy Fink, New River Train (“Banjo Haiku”). Dock Boggs, Oh Death; Prodigal Son; Drunkard’s Lone Child (“Dock Boggs”). A Peggy Seeger “dulcimer” tuning. Railhammer Billy Corgan Signature Pickups meld P90 snap with humbucker chunk, and no hum! Hank Sapoznik, President Garfield’s Hornpipe (tab in Ken Perlman’s in “Melodic Clawhammer Banjo”). First string lowered to play in unison with 2nd. However, on a six string guitar (from low to high) it would be Bb, Eb, Ab, Db, F, Bb. Whether he did or not, it’s effective, and does not sound like a mistake. Billy Corgan Signature. “Sandy River Belle” tuning. Uncle Dave Macon used this tuning a lot; so did Frank Proffitt. (In fact Fred Cockerham uses it for Frankie as well. Greg Jowaisas, Harlan County Farewell Tune (“Old Time Banjo Pieces”). Buell Kazee, Black Jack Davy (“Buell Kazee”). “Clyde reports that this tune was brought back from WW1 by veteran Jeff Gregory, who learned it from a banjo-playing Frenchman. Let's see if I can even come close to replicating the famous guitar tone as heard on the Smashing Pumpkins album Siamese Dream! He had this concept to make a longer neck, so it would hold the tuning better. It allows power chords (also known as bare fifth chords) to be played with a single finger on the lowest three strings. Ken Perlman, Reuben’s Train (Tab, BNL, Mar 1984). C standard tunes the strings of the guitar to produce a low tone. Equivalent tuning is aCGCE (“Open-C”, raised 5th string). Today – pdf Download pdf. Danny Barnes, Stevejames, G-mixolydian (“The Bad Livers: Horses in the Mines”; tab, BNL, Aug 1995). It creates a very shimmer-like ringing sound similar to a twelve string guitar. Bob Carlin, with John Hartford, Shortnin’ Bread (“The Fun of Open Discussion”). This tuning is frequently used by hardcore and metalcore bands as well to achieve a lower sound. Frank Dalton, Rich Mountain (Stoney Point); Hop Light Ladies (“Old Originals Vol 1”). Just a few examples: Wade Reedy, Old Jimmy Sutton (“High Atmosphere”). To avoid the relatively cumbersome designation “open D minor”, “open C minor”, such tunings are sometimes called “crossnote tunings”. Tony Trischka, Kentucky Bullfight (“Country Cooking”). He liked the Air Norton S™ in the neck, The Chopper™ in the middle and The Tone Zone® S in the bridge. Variable pickup voicing at your fingertips! In the first video lesson, I will show you all of James Iha's guitar parts, since they are more crucial to the overall chord progressions. Dock Boggs, Pretty Polly (“His 12 Original Recordings”; “Dock Boggs”). C-tuning was the basis for most of the 19th century banjo methods and the written banjo literature. D G B E (re-entrant: 4th string (D) in higher octave similar to the ukelele. This produces a cross between a G-chord (DGBD) and a D-chord (DF#AD). The G-bass tuned up to the key of A. https://goo.gl/L9eY76 Take Lessons With Me! Review: Cream T Pickups Billy F Gibbons WhiskerBuckers. As individuals, they affected one another just as much with their absence as they did with their presence. The Kimble Family, Cumberland Gap (“Kimble Family Vol 1: Carroll County Pioneers”). Barry Hall, Peggy-O (“Virtuoso 5-string Banjo”). Michael J. If you change the “Little Birdie” eCGAD tuning up one whole step, except for the 1st string, this is what you get. And, finally, the body is topped with a segmented aluminum pickguard for a modern, yet timeless look. One of the most common banjo tunings for tunes in Dorian & Aeolian modal scales. Tuning a standard, non-baritone guitar any lower than this is difficult. 1979 Tab by Smashing Pumpkins with free online tab player. Art Rosenbaum, Little Sadie, from Hobart Bailey (tab in ” Old-Time Mountain Banjo”). Bob Clayton, Bill Cheatham (Tab, BNL, Jan 1980). Dee & Delta Hicks, The Lost Gander (Wild Goose Chase) (“Ballads & Banjo Music From The Tennessee Cumberland Plateau”). Very loud. Also used by Tony Ellis in many of his lovely bluegrass-cum-old-time 3-finger style tunes, and perhaps by other bluegrass musicians. Our caps are made to tighter specifications, so theyâre more consistent. Ernie Fasse (communications to Banjo-L) has also, on his fretless banjo, been delving into this tuning, e.g. Also, Bob Fulcher, French Waltz, in aCGCE (“Old Five String”). The Reverend BC-1 Billy Corgan Signature Electric Guitar has a fresh design with classic and modern elements that come together in a unique way. Rufus Crisp, Brighter Day (“Rufus Crisp”). Dick Weissman, Music Box (“Old-Time Banjo Modern Style”). John Burke, Eight More Miles to Louisville (Tab, BNL, Oct 1982). Often the key will be considered by the players as if played in standard tuning. Used by Guitarist Keven Chambers this is just an alternate version of the Open E Major tuning using an F# on the third string instead of a G#. Bob Carlin, Ladies on the Steamboat; The Last Time (“Where Did You Get That Hat?”). Whit Mead, Backside of Buncombe (Tab, Bubba Hutch, BNL, Jan 1992. Dick Weissman, Country Blues (“New Directions in Folk Music”). Dock Boggs, Davenport, tuned dADAB; i.e. Welcome to the official Billy Corgan Reverb Shop. Buell Kazee, Lady Gay; Roving Cowboy (“Buell Kazee”). Reverend Guitars is the first company to create an electric version as a production model. Ray Stewart, Dry and Dusty (no recording). Virgil Anderson, Miner’s Dream, in the key of E, aEGCE (“On the Tennessee Line”). This Signature model was made to Corgan's exact specs to create his famous mid-'90s buzzsaw tone. His father used it for Darling Cora, and GG believes that B. F. Shelton did as well. I suggest tuning it like a Cittern, as the descriptions of it’s sound from period Ms. would seem to indicate a “5th” relationship tuning. Please see the, Guitars & Stringed Instruments – General Information, Care & Feeding of a Wooden Musical Instrument, Identifying Vintage Guitars, Banjos & Mandolins. Pete Steele, Coal Creek March (“Pete Steele”). Matokie Slaughter, Big Eyed Rabbit (“More Clawhammer Banjo”) Mike Seeger, Bowling Green, tuned down to E (“Mike Seeger & Alice Gerrard”). The guitar is able to intonate in this radical tuning by slanting all the frets and the nut, and allowing each string its own bridge; and thus its own scale length. Nineties rock guitar began with a tug-of-war between shred and grunge, but Billy Corgan … Dwight Diller, John Henry Blues ;Washington’s March (“Piney Woods”). Though there are more recorded examples of this tuning in the Dock Boggs canon than I’ve found elsewhere, Dock clearly didn’t “invent” it. Tuned up to D, this becomes aDAC#E. Traditional esp. Pete Seeger, Darling Corey (“Darling Corey”). John Roberts, Paddy on the Turnpike (Tab, BNL, Mar 1984). Now you can turn down and still sound great! I only have this on a tape passed on to me by a friend; the original LP (“Jody Stecher & Friends: Snake Baked a Hoecake”) was recorded in 1974. John Les, Elkhorn Ridge (not recorded). Mike Seeger’s liner notes say Dock usually plays this “with 5th string tuned to F#. Jane Keefer, Ghost Riders in the Sky (Tab, BNL, Aug 1979). Cluck Old Hen; Pretty Polly; Shady Grove; Little Sadie; The Cuckoo; East Virginia. Mississippi Sawyer, Soldier’s Joy, Arkansas Traveler, Turkey in the Straw, to name a few in the canon). I've huge rock/metal fan since my senior year of high-school in 2016, but I've only recently really gotten into more … The most usual tuning for accompanying fiddle tunes in A. Dock Boggs, Peggy Walker, key of E (“Dock Boggs Vol 3”). The following information has been gathered to help sort out options for instrument tuning. Seeger plays this on a gourd banjo, tuned down. Probably forgot to tune it”. It was written by Billy Corgan and James Iha and was recorded from December 1992 to March 1993 at Triclops Sound Studios. Mentioned in Muller & Koehler’s “Frailing the 5-String Banjo”; no examples given. George Landers, Cumberland Gap (“High Atmosphere”). Bob Carlin, Ninety Degrees, capo 2, to eEAEF# (“Banging & Sawing”). aEGBE). A rather uncommon tuning, “hardcore” tuning is used by bands of hardcore, grindcore, and even some metalcore. Also known as “B Standard” or “Baritone” tuning, this tuning is a common tuning of seven-string guitars, which are tuned B,E,A,D,G,B,E (however this is just an extended version of E standard tuning). Morgan Sexton, Little Sparrow (“Rock Dust”). “Mr Keaton was listening to the tune on a cassette recorder one day at work when a co-worker, who was black, asked him its name. Molly Tenenbaum, Sail Away Ladies (on Mark Simos, “Race the River Jordan”). Sonny Osborne, John Henry Blues (“Bluegrass Instrumentals by the Osborne Brothers”). Smashing Pumpkins - Bullet With Butterfly Wings (Standard Tuning) Tab. Subscribe for new songs every week! Tales From A Scorched Earth Tab by Smashing Pumpkins with free online tab player. A tining in the minstrel-style era (early to mid-19th century). Mike Seeger, Shady Grove, fretless bjo tuned down to d#CFA#C; with Tracy Schwarz’s fiddle tuned to FCDG (‘New Lost City Ramblers: There Ain’t No Way Out’). It sounds to me as if Chancey is also playing Shoot the Turkey Buzzard in this tuning, slightly lower pitch (same recording). According to Corgan, the whistling sound heard in "Mayonaise" came from a cheap guitar he bought, which, whenever he stopped playing it, created the whistling sound.This sound was then incorporated into the song. Hirsute humbuckers modelled on the PAFs in Pearly Gates, the ZZ Top man’s legendary 1959 Les Paul. fCFCD – 3 (“Dock Boggs Vol 3”. Sonny said he conceived of this tuning in the studio when another tune was needed (‘Don’t ask me how I thought of it, it just seemed the right thing to do’). Miles, Greensleeves (Tab, BNL, Feb 1985). Bob Carlin, Trouble (“Fiddle Tunes for Clawhammer Banjo”). Joel Mabus, Little Rabbit (“Clawhammer”). When we started working with Billy Corgan on the pickups for his signature Strat®, we sent him several models to try out. Two-Toned Teardrop (Available Separately). A fresh design with classic and modern elements that come together in a unique way. Gaither Carlton, Rambling Hobo (“High Atmosphere”). Billy Corgan a choisi le LJ16 ARE fabriqué à la main comme base de son modèle signature. Some frailers/clawhammerers and old-time finger-pickers (e.g. (BNL interview, Nov 1980.). Dock Boggs, Little Omie Wise; Sugar Blues; I Hope I Live a Few More Days (“Dock Boggs Vol 3”. William Patrick Corgan. Rick Abrams, Little Nell, fiddle tuned GDAD (“Piney Creek Weasels: Squirrel Heads & Gravy”). Classical guitarists performing known transcriptions are assumed to be using predetermined and carefully defined tunings. Morgan Sexton, London City Where I Did Dwell (“Rock Dust”). This tuning may also be used with a capo at the third fret to match the common lute pitch: G-C-F-A-D-G; see Common Lute Tuning above. Molly Tenenbaum, Little Birdie, in E (“And the Hillsides…”). George Stoneman, Sandy River Belle (“Clawhammer Banjo”). Bullet With Butterfly Wings Tab by Smashing Pumpkins with free online tab player. Paul Brown, Half Shaved (“Old Five-String”. Nearly infinite. Frank Proffitt, Satan Your Kingdom Must Come Down (“High Atmosphere”). You may also use any standard Lute tuning. Composition. He comments that Morgan Sexton used a similar rhythmic picking-pattern in his own version of the tune, Little Frankie (on “Rock Dust” and “Shady Grove”. Albert Hash, Rambling Hobo (“Albert Hash & the Whitetop Mt. Shady Grove) can be effective in the open G-minor. Dona Gum, Sugar Babe, capo 1, key of F (“Old Time Banjo Anthology, Vol 1”. Dwight Diller, Yew Pine Mountain “Just Banjo”). BTW, I highly recommend the 2 Morgan Sexton recordings listed in my discography, especially for anyone interested in old-time finger-picking styles.). The result was the Reverend Billy Corgan Signature Terz: a punchy, shimmering guitar that is rich in overtones, perfect for adding color accents or driving rhythm parts that spice up a tune. The official Facebook Page of William Patrick Corgan www.wpccodex.com Now, some of the great tools Billy Corgan used to craft that sound — the pre–amps, heads, combos, guitars, basses, and more — are going up for sale. Molly Tenenbaum, John Hardy (“And the Hillsides Are All Covered with Cakes”). Dalton called this tuning “high bass, high second”. Pumpkin-Patch leader Billy Corgan, the group's primary songwriter and guitarist, leads his cohorts-James Iha (guitar), D'Arcy (bass) and Jimmy Chamberlin (drums)- on a vast excursion of sounds, styles, textures and emotions, and in doing so manages to surpass the formidable musical mastery of 1993's multi-platinum Siamese Dream. Dick Weissman, Ode to Amuse (“Old-Time Banjo Modern Style”). Andy Cahan, Hello Raccoon (“Old Five-String”). John McEuen, Miner’s Night Out (Tab, BNL, Nov 1990). This patent-pending string tree has an extended bar to hold down three strings at a time with just one tree, eliminating G string buzz in the nut slot. Indian Creek Delta Boys, Wolfe Creek (“Indian Creek Delta Boys”). The Billy Corgan Stratocaster joins the list of esteemed artists-designed instruments on that roster. See also under gA#FA#D. McKinley Asher, Hand Me Down My Old White Hat (“Library of Congress Banjo Collection”). Bill Mansfield, Bonnie Prince Charlie, D-minor (“Root Hog or Die”). Billy Corgan’s “Mayonaise” tuning: Eb-Ab-Ab-Gb-Bb-D. Corgan utilizes this unique tuning on Mayonaise. Allen Hart, with Kerry Blech, Will Davenport’s Tune, learned from Clyde Davenport (“The Young Fogies, vol. Tony Trischka, River of Steel (“Skyline Drive”). (On another County recording, Tommy Jarrell’s Banjo Album: “Come & Go With Me”, it is claimed that Tommy was responsible for this “fantastic tuning”. Doc Watson, Rambling Hobo (“The Essential Doc Watson”; “The Doc Watson Family”). I think ‘Turkey’, played in the key of E, sounds great in this tuning. Dwight Diller, Callaway (“Harvest: West Va. Mountain Music”). Reed notes that the banjo on which he recorded the tune “belonged to the ‘Cox’ family of Hillsville VA…It was tuned to dADAD when found so it stays in that tuning.” (Communicated to Banjo-L by Jeff Chumley, 23 March 97). Cd version most guitarists, and boasts a rich vintage look it sounds Me... Days of ’ 49 ( A-minor ) trying Cumberland Gap, tuned at D-A-d-g-b ’ -d.! 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