Sally Gooden in G is pretty common here in SC, and is generally known as "Black 
Sally". I don't think that's meant to be racially disparaging, so no one should 
take it that way. 

I've had a lot of success with playing fiddle tunes I don't know out of the 
chord position, just as I would taking a break for a standard bluegrass tune 
that I really don't know all that well. Some people look on that as fiddle tune 
heresy, but to me it gets the job done and makes you think differently about 
the sounds--or functions, Dasspunk--that you can get out of the chord position. 




________________________________
From: Mike Hoffmann <[email protected]>
To: [email protected]
Sent: Thu, November 19, 2009 9:39:47 AM
Subject: Re: Thinking more outside of a Jam

Some fiddlers in New England play a Sally Gooden in G, I also have  
heard Gene Goforth doing it out of G.  I really like the idea of  
learning an A tune in G "in case the banjo player doesn't have a  
capo."  Just another excuse to see how different keys relate/differ  
from each other.

On Nov 19, 2009, at 9:29 AM, 14strings wrote:

> "Erik I like your idea about learning tunes that are traditionally
> played out of A, in G."
>
> Jody Stecher does a real nice version of Sally Goodin out of G; it's
> on the "Mandolin 2000" Mel Bay book.....(I think Mel changed the title
> of that book since it's initial publication)
>
> Elliot is my favorite guitar capo; it has a thumb screw on there so
> you can get just the right amoint of tension to get a clear note but
> without putting the strings out of tune. The design lets you "store"
> it right behind the nut when not capoing; a major advantage in my
> book.
>
> D'Addario's Planet Waves just came out with a $15 capo that works on
> the same principle.
>
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