G6 tuning (Full Version)

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oc chuck -> G6 tuning (Mar. 27 2026 23:59:32)

I am learning a piece called Mantillas de Feria
by Estaban de Sanlucar and arr. by Juan Serrano.

The 6th string is tuned down to D and
the 5th string down to G.

I'm looking for other flamenco pieces with this tuning
so I don't retune for just one piece.

Any help is appreciated.



Ricardo -> RE: G6 tuning (Mar. 28 2026 13:21:39)

I played it years ago but have since forgotten it, not having any solo gigs for years now.



It is inspired by this arrangement probably by Tarrega or someone:



Raphael Riquini has Garrotin:



He teaches that in his Encuentro video. Other than those three I am not sure. Tomatito has Colombiana but I can't recall the exact tuning there.




rombsix -> RE: G6 tuning (Mar. 28 2026 13:30:21)

Chording compasssssss! [:D][8D]



Stu -> RE: G6 tuning (Mar. 29 2026 19:52:51)

quote:

so I don't retune for just one piece.


You need to buy more guitars so you can keep them in different tunings![:D]



oc chuck -> RE: G6 tuning (Mar. 31 2026 20:00:22)

Ricardo, thanks for the suggestions but I'm afraid
they are a little above my pay grade.

Nice playing off the top!

What guitar are you playing, I couldn't make out the label.



oc chuck -> RE: G6 tuning (Mar. 31 2026 20:05:20)

Didn't you know, every guitarist needs at least one
more guitar.



Ricardo -> RE: G6 tuning (Apr. 1 2026 13:40:09)

quote:

What guitar are you playing, I couldn't make out the label.


It was made by my friend Max Bishop, who passed away last year. This was the second of two he made for me. I exchanged the first one as the bridge set up was too high (neck angle was too classical for my tastes).

http://www.foroflamenco.com/tm.asp?m=357428&appid=&p=&mpage=1&key=max%2Cbishop&tmode=&smode=&s=#357428



Auda -> RE: G6 tuning (Apr. 2 2026 3:00:43)

Damasco by Sabicas



mark indigo -> RE: G6 tuning (Apr. 12 2026 15:57:07)

quote:

I am learning a piece called Mantillas de Feria
by Estaban de Sanlucar and arr. by Juan Serrano.

The 6th string is tuned down to D and
the 5th string down to G.

I'm looking for other flamenco pieces with this tuning
so I don't retune for just one piece.

Any help is appreciated.


If you are looking for things closer in style (and perhaps technical level), Manuel Cano did a lot of things (inc. Zambras, Tientos, Siguiriyas/Serranas, Bulerías, Fandangos etc.) in drop D, Rondeña tuning (drop D and 3rd to F#), drop D and G, and even an Alegrías/Caracoles (Madrid Flamenco) in drop C and G.

In the tuning you are looking for, drop D and G:

Canción albaicinera here: http://flamencoweb.fr/spip.php?article800

Fandangos de la Alpujarra here: http://flamencoweb.fr/spip.php?article453

you can use the search box top left if you want to find other the recordings and transcriptions from him in the other tunings, as well as standard tuning stuff.

Some blurb about him, if you don't know him, here:
http://flamencoweb.fr/spip.php?article142



mark indigo -> RE: G6 tuning (Apr. 12 2026 16:04:58)

quote:

It is inspired by this arrangement probably by Tarrega or someone:


I didn't know Esteban de Sanlucar was inspired to create Mantilla de Feria by Tárrega's transcription for guitar of Sevilla by Albeniz - is that documented somewhere?



oc chuck -> RE: G6 tuning (Apr. 12 2026 20:32:54)

Auda and mark indigo-

Thank you for the information!



Ricardo -> RE: G6 tuning (Apr. 13 2026 11:51:30)

quote:

ORIGINAL: mark indigo

quote:

It is inspired by this arrangement probably by Tarrega or someone:


I didn't know Esteban de Sanlucar was inspired to create Mantilla de Feria by Tárrega's transcription for guitar of Sevilla by Albeniz - is that documented somewhere?


"probably" is the key word, however, the piece is very famous in the classical guitar world and the nature of the compositions by Esteban (and later Riqueni) makes it obvious to someone like me that they would not have invented that by accident. In particular the modal modulations that occur in Sevilla by Albeniz (G major to G Phrygian and back) are mimicked as well. But who knows, maybe Cano was the inspiration? Or more likely the Sabicas piece mentioned.

Good find of the other pieces of Cano!



mark indigo -> RE: G6 tuning (Apr. 13 2026 12:51:57)

quote:

"probably" is the key word, however, the piece is very famous in the classical guitar world and the nature of the compositions by Esteban (and later Riqueni) makes it obvious to someone like me that they would not have invented that by accident. In particular the modal modulations that occur in Sevilla by Albeniz (G major to G Phrygian and back) are mimicked as well. But who knows, maybe Cano was the inspiration?


I took the "probably" to refer to the probable transcriber i.e. Tárrega, rather than that Esteban de Sanlúcar probably took the idea of the tuning and possibilities from guitar versions of the Albeniz piece which, point taken, no doubt he did.

There seems to have been some dialogue, or at least encounters, between classical and flamenco guitar in the early 20th Century (Miguel Borrull apparently accompanied cante professionally but played pieces by Tárrega "in private", Ramon Montoya knew, or at least met, Miguel Llobet in Madrid, and classical composers like Albeniz created their romantic fantasy "impressions" inspired by folklore and flamenco etc.), so no doubt the Sevilla transcription and tuning were known.

Also, a transcription by Tárrega of the Albeniz piece "Cádiz" has apparently turned up (in a manuscript copied out by Llobet) in drop D and G tuning (I think more often transcribed in A major in standard tuning or D major in drop D tuning).

Don't know when Esteban de Sanlúcar composed Mantilla de Feria, but he was born 15 years before Manuel Cano, and Cano's recordings start from 1958.[https://www.discogs.com/artist/905365-Manuel-Cano]

I think by then Esteban de Sanlúcar was living in Argentina.

There is also a book of Manuel Cano transcriptions. Tunings are standard, drop D and Rondeña, nothing in drop D and G, but it does come with 2 CD's, one of tracks from his LP's, and another with some live concert solos and some tracks of Cano accompanying cante.

https://www.storemusic-live.es/Articulo~x~Maestros-de-la-guitarra-flamenca-libros-de-partituras-manuel-cano~IDArticulo~62.html

this link has a bit more info about the recordings:
https://flamencolive.com/en/manuel-cano-flamenco-guitar-masters-claude-worms/



mark indigo -> RE: G6 tuning (Apr. 13 2026 13:08:57)

quote:

Tomatito has Colombiana but I can't recall the exact tuning there.


I checked the Faucher article on altered tunings, remembering there was something about this, but couldn't remember what. The Affedis website seems to only show the part 1, but there were originally 4 parts.

This is from part 3:

Tomatito, again, with Armonias del Romañe (colombiana from the record Barrio Negro) creates an arrangement of the G tuning that goes, from bass to treble: D, G, B, G, B, E. It differs from the former G tuning in that the fourth string is B instead of D. This permits a C-Major chord (the IV chord in the G-Major tonality) to be made with a simple bar at the fifth fret over the six strings, which was impossible before.



mark indigo -> RE: G6 tuning (Apr. 13 2026 13:11:27)

quote:

Damasco by Sabicas


According to Alain Faucher Sabicas used the "G" tuning more than once:

"The G tuning can be found also in Sabicas’ danza mora, Damasco and traditional themes from northern Spain (Gallegadas)"

Article on his website here:

https://affedis.com/articles/altered-tunings-in-flamenco-guitar/



Ricardo -> RE: G6 tuning (Apr. 13 2026 15:59:57)

quote:

Article on his website here:


Very nice article.

In case you missed some of my posts about it months ago, the Rondeña of Montoya was not only instrumental influenced, he first accompanied Taranta using the tuning, and Faustino Nuñez found an eyewitness in 1800 record that some guitarists would drop the third string to F# to play a certain "polo" in that minor scale (gives our Rondeña tonality), then back to normal for other pieces...suggesting Montoya had either rediscovered an old practice or preserved it for posterity (hard for me to believe the singer would have accepted that weird experimental sound unless it was vaguely familiar in the tradition already).

And even John Griffiths (vihuela expert) thanked me for pointing out the fact the flemish mass of Josquin des prez tabbed out by Pisador in 1552(!) required the drop D Rondeña tuning (tonic C# Phrygian or "la sol fa re mi" Phrygian catholic mass). That plus the 6 pieces that are used by Fuenllana in that tuning suggest an old practice in spain of using that tuning/tonality for "flemish motets" more generally, aka certain flamenco palos. Our lexicon still employs "vihuela speak" like "Tientos", "Romances", "Tonos", "compás", "redobles", solmization syllables (re mi fa sol etc.)

Or it is all just coincidence, so take your pick. It is at least instructive.



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