A List of Tunings used by James Blackshaw
An Overview of the Alternate Tunings utilised by British Composer
In the few short years that James Blackshaw has been recording his albums he has been rightly lauded a musical genius by critics and music lovers alike. Criminally underappreciated here in Britain he has gained a large following throughout the rest of world, most notably in America where his albums have achieved cult status.
Blackshaw's Developement
It has been interesting to see this guitar player develop over the course of his recordings, moving from Basho/Fahey inspired raga’s of his early output to the more minimalistic avant guarde pieces which make up the bulk of his most recent efforts. This is most evident in the change of direction his tunings have taken, from early variations on open C to utterly unorthodox tunings with no real chord apparent.
In keeping with other experimental UK guitarists such Nick Drake or Davey Graham, Blackshaw utilises unconventional tunings in his compositions. In a way he uses the instrument almost like a piano, the cyclical picking patterns in his pieces use all of the strings in the courses as possible.
Here then is a compiled list of all his various guitar tunings to date, most done by ear with a few garnered from distant corners of the internet.
Celeste; Celebrate Psi Phenomenon 2004
- Celeste Part 1: CGCGCD#
- Celeste Part 2: CGCGCE
Blackshaw's first release Celeste utilises the both Open C Minor tuning and standard Open C tuning. "Celeste Part 1" is in Open C Minor, a tuning which is used by other solo guitarists such as Jack Rose and Sean Smith. "Celeste Part 2" is in Open C, a tuning used extensively by the late great John Fahey.
Lost Prayers and Motionless Dances; Digitalis Industries 2004
- Lost Prayers and Motionless Dances: CFCFCF
Lost Prayers is an extended raga drawing inspiration from Indian classical music. Here Blackshaw uses a variant on C tuning, with all of the strings tuned at perfect fifths apart. The main melodic section of the track is played using the low F, or the 5th string, as the bass note.
Sunshrine; Digitalis Industries 2005
- Sunshrine: CGCGCF
- Skylark Herald’s Dawn: CGCGCF
2005's Sunshrine sees Blackshaw using yet another variant on a C chord. The 35 minite Sunshrine is another Indian accented raga, but also shows Blackshaw using tremolo extensively to chart the melody for the first movement. "Skylark Herald's Dawn" is a more pastoral piece, in keeping with some of Nick Drake's earlier work.
O True Believers; Important Records 2006
- Transient Life in the Twilight: CECECD
- The Elk with Jade Eyes: CECECD
- Spiralling Skeleton Memorial: CECECD
- O True Believers: CECECD
Every track on O True Believers is tuned in exactly the same way. Another variation on C, the 3rd string is tuned down from a G to an E, whilst the 6th string moves two places from an E to a D. Again this tuning lends to a more Eastern sound, and this album includes other instrumentation from the Indian Tampura and Harmonium.
Imaginational Anthem vol 2; Tompkins Square 2006
- River of Heaven: AEAEBE
Blackshaw's inclusion of the brilliant Tompkins Square series Imaginational Anthem saw a movement away from Open C. With the bottom strings massively downtuned, Blackshaw was able to create a more liturgical sound. This tuning is very similar to that of the Greek Bouzouki.
Cloud of Unknowing; Tompkins Square 2007
- Cloud of Unknowing: AEAEC#D#
- Running to the Ghost: BEBEC#D#
- The Mirror Speaks: DEAFAC
- Stained Glass Windows: AEBEC#D#
Cloud of Unknowing saw Blackshaw using more unconventional tunings. Like "River of Heaven", the bass strings on the title track and "Stained Glass Windows" are downtuned 7 semi tones with the 2nd string tuned up to a C# and the top E down to a D# to almost make an Open A chord. "Running to the Ghost" is a variant of this tuning with the 6th string tuned to a B. "The Mirror Speaks" is more conventional however, as it is close to the Open D minor used by many Blues musicians.
Garden of Forking Paths; Important Records 2008
- The Broken Hourglass: AEG#EBE
The Garden of Forking Paths contains one of Blackshaw's most sucessful minimalistic pieces, "The Broken Hourglass". Here the guitar is tuned to what is almost a Open A major 7th. The low G# of the 4th string adds resonance to the higher tuned strings.
Litany of Echoes; Tompkins Square 2008
- Past has not Passed: AFCEAE
- Echo and Abyss: CEBEAE
- Infinite Circle: A#FA#FCD
- Shroud: DF#AF#BC#
"Past has not Passed" is tuned to A minor, but with the change of bass note from the A to the F it becomes an F chord. "Echo and Abyss" uses the low A of the 2nd string to add resonance to the tremolo melody, and "Infinite Circle" is an evolution of the tuning of his earlier track "Running to The Ghost".
The Glass Bead Game; Young God Records 2009
- Cross: BGBDAD
- Bled: CADEAB
- Key: AEC#EAD
This list should be used to further appreciation of Blackshaw’s music, truly one of the most important guitarists around at the moment.
James Blackshaw
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