Table of Contents:

1. Introduction
2. The Five Categories of Tuning
3. The Six Families of Keys
4. Slack Key Tuning Evolution
5. Related Common Fingerings with Different Tunings

(Note: In this section tunings are followed by a letter & number that correspond to the individual tuning’s location in the Chart of Recorded Tunings, Section IVa, as well as in the Hawaiian Recordings in Slack Key Tunings, Section V).

As is true with the rest of this book, tunings are always listed from the lowest pitched string to the highest pitched string.

INTRODUCTION

Hawaiian slack key guitar has many tunings in its tradition, although there are 13 tunings that have been most commonly used on recordings (Summary of Recorded Tunings, Section IV).

Each tuning has a uniquely beautiful sound, feeling, and resonance. These tunings are very ingenious and are designed to play songs in Major keys with natural fingerings so that the guitar can resonate sympathetically. It’s as if each tuning is a different delicious kind of fruit in a big basket or a different color in a rainbow (as with the many banjo and fiddle tunings in the Appalachian Mountains in the southeast part of Mainland America).

Most artists play most of their pieces in their favorite two, three, four, or five tunings; some play in more tunings, though often just for one or two songs. Some artists play certain songs in more than one tuning depending on their mood; and also they sometimes do this rather than retuning the guitar when playing live.

Basically, in the Slack Key Tradition, some of the strings are (usually) loosened or slacked from the Standard Tuning (E-A-D-G-B-E) –(#C-32), so that the bass notes for both the tonic I chord and the dominant V chord are always present on the open (unfretted) lowest pitched strings. Sometimes bass notes for other chords are on open strings: for example, the open bass note for the subdominant IV chord is present in the Samoan C Mauna Loa Tuning (F–G–C–G–A–E) -(#C-25), where the sixth string open F note is the bass note for the IV chord (here the F Major chord); and sometimes the open bass note for the II chord is present in two C Wahine Tunings (C–G–D–G–B–D) -(#C-5) and (C–G–D–G–B–E) -(#C-7), where the fourth string open D note is the bass note for the II chord (or the II7 chord), here the D Major chord (or the D7th chord).

Slack Key guitarists almost always play in the key of the tuning, although sometimes they modulate to, or play the whole song in, the key of the IV chord, or sometimes the key of the V chord. The late, great slack key guitarist Leland “Atta” Isaacs, of the celebrated Isaacs musical family, often played in keys other than the one the guitar was tuned to. In his C Major Tuning (C-G-E-G-C-E) -(#C-1), in addition to the key of C, he often played in the key of F – one of the most notable example is his classic rendition of the song How’d Ya Do, where he played the whole song in the key of F (and the bridge modulates to the key of Bb); also sometimes he played songs or parts of songs in the key of G, the key of D, and occasionally in the keys of A and Bb. He almost always did this while playing with others, and usually concentrated on playing the four highest pitched strings.

Bla Pahinui, playing in the Dropped D Tuning (D–A–D–G–B–E) -(#D-7), also occasionally plays in the key of the IV chord (the key of G - for example on the song Wahine U’i). Bla also occasionally plays in the key of C in this tuning (the key of the bVII chord - for example on the song Pupu Hinuhinu, and for part of the song Moonlight Lady).

Keola Beamer, playing in his C Wahine Tuning (C–G–D–G–B–E) -(#C-7), also occasionally plays in the key of the IV chord (the key of F - for example, on the song Ka Wailele O ‘Akaka {‘Akaka Falls}).

The most prominent example of modulating to the key of the IV chord within a song, is the classic ‘Opihi Moemoe by Leonard Kwan, played in the G Major Tuning (D-G-D-G-B-D) -(#G-1), which modulates twice to the key of C (the IV chord). Another example is Ray Kane’s version of Na Hoa He`e Nalu, which is also in the same G Major Tuning (D-G-D-G-B-D) -(#G-1), and modulates twice to the key of C. (Also see three paragraphs above about Atta Isaacs, and his rendition of How’d Ya Do).

Examples of playing in the key of the V chord of a tuning are: Ozzie Kotani playing the Queen Lili’uokalani composition Ka Hanu O Evalina in the key of D, when tuned to the G Major Taro Patch Tuning (D-G-D-G-B-D) -(#G-1); and Wayne Jacintho also plays in the key of D in the same G Major Tuning on his unrecorded version of He Aloha Mele. Atta Isaacs also often played in the key of the V chord, in the key of G (or modulated in part of some songs to the key of G), when tuned to his C Major Tuning (C-G-E-G-C-E) -(#C-1). (Also see four paragraphs above about Atta Isaacs).

THE FIVE CATEGORIES OF TUNINGS

There are four basic types of slack key tunings. Note, though, that there are various others that do not fit into these categories, that will be put into a fifth Misellaneous category throughout these documents.

1. Major Tunings– Tunings in a Major chord; or tunings containing a Major chord, usually on the three highest pitched strings.
   
   
2. Wahine Tunings - Tunings with the major 7th note in them (the “ti” in the Major scale – the note just below the tonic). The open (unfretted) major 7th note has two functions: first, it can easily be “hammered on” to produce the tonic note of the tonic chord, the I chord (a hammer-on is created by plucking a note and immediately fretting above the note to sound a second tone, which very successfully mimics and complements the Hawaiian vocals);
   
   and secondly, this note is also the open 3rd interval of the very strong dominant chord, the V chord, in Wahine Tunings. (For more on Wahine Tunings, see Wahine Tuning in Section VII – Glossary)
   
   Sometimes Wahine Tunings will have the whole open (unfretted) dominant V chord in the tuning, such as the following:
   
   
   1. The F Wahine “Gabby’s F Tuning” (F-C-E-G-C-E) (#F2) - has the whole V chord, the C Major chord, on the five highest pitched strings.
      
      
   2. The F Wahine “Leonard’s F Tuning” (C–F–C–G–C–E) -(#F-3) – has the whole V chord, the C Major chord, on the four highest pitched strings.
      
      
   3. The C Wahine “Leonard’s C Tuning” (C-G-D-G-B-D) (#C5) – has the whole V chord, the G Major chord, on the five highest pitched strings.
      
      
   4. In a theoretical A Wahine Tuning invented by Mika’ele Mike McClellan, that no one has yet recorded in (D-A-C#-E-G#-B) – see tuning #Wahine A-1 in Section VI – Summary of Non-Recorded Tunings), there is the whole open V chord, the E Major chord, on the three highest pitched strings.
      

   Also, in Hawai`i, the dominant V chord is often called the “Second” chord. For example, in the key of C, the dominant V, or the G Major chord or G7th chord, would be called “Second C.” In the key of G, it would be the D Major or D7th chord, and would be called “Second G.”

   For reference see the chart below for the six families of keys:

   Key	Second Chord
   G:	D, D7
   C:	G, G7
   D:	A, A7
   F:	C, C7
   Bb:	F, F7
   A:	E, E7

   
   (For more on this see Second G in Section VII – Glossary).
   
   
3. Mauna Loa Tunings - Tunings based on a Major chord with the two highest pitched strings tuned a 5th interval apart. This way, the two highest pitched thinnest strings in a Mauna Loa Tuning can be played in 5th intervals (intervals that in many other tunings, where most of the four highest pitched strings are tuned a 4th interval, a major 3rd interval, or a minor 3rd interval apart, are played on the first and third strings; or on the second and fourth strings), producing the recognizably sweet sound that Mauna Loa Tunings bring out. The 6th intervals on the two highest pitched strings can also be “frailed” (strummed rapidly) with the index finger, producing another characteristic sound of this tuning.
   
   
4. Ni`ihau or Old Mauna Loa Tunings – Tunings in which two successive strings are tuned a 4th interval apart, with the 6th note of the scale on the lower pitched string of the two strings and the 2nd note of the scale on the higher pitched string of the two. This allows the player to hammer-on notes on these two successive strings, starting on the lower of the two, which is a characteristic sound of this type of tuning (a hammer-on is created by plucking a note and immediately fretting above the note).
   
   
5. There is a fifth category of Miscellaneous tunings that don’t fit into any of these categories.
   

THE SIX FAMILIES OF KEYS

Each of the five types of slack key tunings listed just above, are found within the six key families of tunings, which are the keys of G, C, D, F, A, and Bb. The most common tunings are in the key families of G and C. The second most common is D; the third most common are F and Bb; and the fourth most common is A.

Within these families, there can be many tuning variations depending on the taste of each player. In addition, these keys can be raised or lowered from standard concert pitch for the sound desired on the guitar, and more commonly, to accommodate the vocal range of the singer. For example, Ray Kane often tunes the G Major Tuning (D-G-D-G-B-D) -(#G1) down to F#, F, or E; and the late Sonny Chillingworth sometimes tuned the G Major Tuning (D-G-D-G-B-D) -(#G1) up to Ab or A. The late Gabby Pahinui sometimes tuned his C Wahine “Gabby’s Hi’ilawe” Tuning (C-G-E-G-B-E) -(#C11) and the C Mauna Loa Tuning (C-G-E-G-A-E) -(#C-22) down to the keys of B, Bb, A, Ab, or even occasionally as low as G, and he also occasionally tuned them up to the key of C#. Slack key guitarist Dennis Kamakahi often tunes the same C Mauna Loa Tuning (C-G-E-G-A-E) -(#C-22) down to the keys of Bb, A, or Ab; and he often tunes the G Major Tuning (D-G-D-G-B-D) -(#G1) down to the keys of F, E, Eb, or even occasionally as low as D.

Also, some guitarists use a capo (a clamp or strap on the fretboard) to raise the pitch. In the early years of slack key guitar capos were not available, so tunings were developed in the six keys to accompany the range of the vocalists. Taking into account the raising or lowering of the keys from concert pitch, the whole range of twelve keys within an octave was covered. (See Section IV: Chart of Recorded Tunings.)

1. G Tunings: G Major Tuning (D-G-D-G-B-D) (#G1) often called “Taro Patch Tuning” in Hawai’i, is the most common tuning used in the Slack Key tradition, and the key of G is the most common key used. This tuning is prominently used by most slack key guitarists. (The G Major Tuning is also very common in Mainland America and was often called “Spanish Tuning” in the late 1800s and early 1900s. It is also popular in Europe, and is sometimes used in other parts of the world).
   
   Also often used are the G Wahine Tuning (D–G–D–F#–B–D) -(#G-4), and the G Mauna Loa Tuning (D–G–D–D-G–D) –(#G-6).
   
   Occasionally Leonard Kwan played in a G Old Mauna Loa/ Ni’ihau Tuning (D–G–D–E-A–D) -(#C-11). Sonny Chillingworth occasionally played in another Old Mauna Loa/ Ni’ihau Tuning (C–G–D–E-A–D) -(#C-1), which is one note different from the one that Leonard Kwan used, with the lowest pitched sixth string tuned down to C.
   
   
2. C Tunings: The key of C is the second most common key that is used in the Slack Key tradition. Wahine Tunings are the most frequently played tunings in the key of C. The late Gabby Pahinui played almost completely in C tunings in the last decade of his life, using his C Wahine “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) -(#C-11); and he also used the popular C Mauna Loa Tuning (C–G–E-G-A-E) -(#C-22), which he easily retuned to from his C Wahine Tuning, by lowering the second highest pitched string from the B note in the C Wahine Tuning down two half steps to the A note (making it the C Mauna Loa Tuning).
   
   The late Leonard Kwan’s favorite tuning was the commonly used C Wahine “Dropped C” Tuning (C–G–D–G–B–D) -(#C5), and it has often been called “Leonard’s C.” This C Wahine Tuning is the second most used tuning in slack key, after the G Major Tuning (D–G–D–G–B–D) -(#G-1), which is one note different from this C Wahine Tuning, on the lowest pitched sixth string (which is why it sometimes is called “Dropped C” Tuning). It has also been prominently and often used by Sonny Chillingworth, Led Kaapana, George Kuo, Ozzie Kotani, George Kahumoku, Jr., and occasionally by Keola Beamer.
   
   Also, there are some C Wahine tunings from the Island of Ni`ihau that have the fourth string tuned down to C. For example, the Kaua’i slack key guitarist Wayne Jacintho occasionally plays a C Wahine Tuning (C–G–C–G–B–D) -(#C15), that he learned from a woman from Ni’ihau who had moved to Kaua’i. The Ni’ihau slack key guitarist Malaki Kanahele occasionally uses a different C Wahine Tuning (G–C–C–G–B–E) -(#C18), with the fourth string also tuned down to C.

   Mauna Loa Tunings are also very often played in the key of C, and the most common C Mauna Loa Tuning (C-G–E–G–A–E) -(#C22) has been used prominently by the late Gabby Pahinui, as well as by George Kuo, Dennis Kamakahi, and Pat Cockett, and occasionally by Cyril Pahinui, Sonny Chillingworth, and Ozzie Kotani.

   Leonard Kwan occasionally played a C Mauna Loa Tuning (C–G–C–G–A–E) -(#C-24), that has been used in Samoa (and maybe in Ni’ihau as well), with the fourth string tuned down to C.
   
   Sonny Chillingworth played another C Mauna Loa Tuning (F–G–C–G–A–E) -(#C-25), that also appears in Samoa, with the fourth string tuned down to C and the lowest pitched 6th string tuned up to F. He also occasionally used a Samoan type C Major Tuning (F–G–C–G–C–E) -(#C4). These two Samoan tunings are unique because: they have the lowest pitched string open (unfretted) for the F chord (the IV chord); and also because the C chord (the I chord), the F chord (the IV chord), and G chord (the V chord) in these two tunings all have open strings - the C on the fourth string, the F on the sixth string, and the G on the fifth string.
   
   The C Major Tuning (C–G–E–G–C–E) -(#C1) has been used prominently by the late Atta Isaacs, Sr. and by his son, the late Atta Isaacs, Jr., as well as by Cyril Pahinui, and Atta’s nephew Wayne Reis. A different C Major Tuning (C–G–C–G–C–E) -(#C3) is used often in Mainland America and Europe, but just occasionally in Hawai’i. Sonny Chillingworth also occasionally used a Samoan type C Major Tuning (F–G–C–G–C–E) -(#C-4), described in the paragraph just above, which is the same tuning as the C Major Tuning used in Mainland America and Europe (C–G–C–G–C–E) -(#C3), except that the lowest pitched sixth string is tuned up to F.

3. D Tunings: The key of D is the third most often used key in the Slack Key tradition. D Tunings have often been: Wahine Tunings, the D Major Tuning, the Ni’ihau/ Old Mauna Loa Tunings, and various miscellaneous tunings.
   
   D Wahine Tuning (D–A–D–F#–A–C#) -(#D4) was played more often in the past and has been used occasionally by Leonard Kwan, Ray Kane, Keola Beamer, Sonny Chillingworth and Led Kaapana, as well as by older recorded players, including the late Tommy Blaisdell, the late Tommy Solomon, and the late George Keoki Davis.
   
   Cyril Pahinui prominently uses the D Major Tuning (D–A–D–F#–A–D) -(#D1). Sometimes Keola Beamer, Moses Kahumoku, and Kapono Beamer use the D Major Tuning as well. (The D Major Tuning is a common tuning in Mainland America, where it was sometimes called “Vestapol Tuning” in the late 1800s and the early 1900s, named with a shorter title for the late 1800s American instrumental piece The Siege of Sebastapol, which is in the D Major Tuning)
   
   Cyril Pahinui also uses his unique D Ni`ihau/Old Mauna Loa Tuning (D–A–D–F#–B–E) -(#D6), which is a variation on the D Major Tuning (D–A–D–F#–A–D) -(#D1), using the four lowest pitched strings of that tuning; and it is also a variation on the Standard Tuning (E-A-D-G-B-E) -(#C-30), using the two highest pitched strings of that tuning. Kapono Beamer also occasionally uses this D Ni’ihau/ Old Mauna Loa Tuning (D–A–D–F#–B–E) –(#D6).

   Also Cyril Pahinui’s D Ni’ihau/ Old Mauna Loa Tuning (D–A–D–F#–B–E) -(#D6) is one note different from the Dropped D Tuning (D–A–D–G–B–E) - (#D7), where the fourth string would be tuned down from the G note to the F# note for Cyril’s D Ni’ihau/ Old Mauna Loa Tuning (D–A–D–F#–B–E) -(#D6).
   The Dropped D Tuning (D–A–D–G–B–E) -(#D7), is most prominently used by Bla Pahinui, and it is also one note different from the Standard Tuning (E–A–D–G-B–E) –(#C-32), with the lowest pitched sixth string tuned from the E note down to the D note. It is also used occasionally by Led Kaapana. (It is also very common in Mainland America, Europe, and in the Classical guitar tradition).

   Another D tuning is the D6th Tuning (D–A–D–F#–B–D) -(#D8), where the second highest pitched string in the D Major Tuning (D–A–D–F#–A–D) -(#D1) is tuned up from the A note to the B note. It is used often by Carlos Andrade, Patrick Cockett, and Kapono Beamer; as well as occasionally used by Moses Kahumoku, and the Japanese slack key guitarist Yuki Yamauchi.

4. F Tunings: The key of F is the fourth most used tuning in the Slack Key tradition. F tunings are almost always Wahine Tunings. The late Gabby Pahinui prominently used an F Wahine Tuning (F–C–E-G–C–E) -(#F-2), that is often called “Gabby’s F.” The late Leonard Kwan prominently used another F Wahine Tuning (C–F–C–G–C–E) -(#F-3), that is often called “Leonard’s F”, and Keola Beamer often uses this tuning as well.
   
   Mike McClellan has also recorded one song in an unusual F Mauna Loa Tuning (F–Bb–C–F–A–E) -(#F5), which is of his own invention, and which is also a Wahine Tuning since it has a Major 7th note in it (as well as having a 5th interval between the two highest pitched strings, making it a Mauna Loa tuning as well).
   
   Sometimes the G Major Tuning (D-G-D-G-B-D) -(#G-1) is tuned down to the key of F.
   
   
5. Bb Tunings: The key of Bb is the fifth most often used key in the Slack Key tradition. Bb tunings are almost always Wahine Tunings and Mauna Loa Tunings. Bb tunings and C tunings are related - to convert a C tuning to a Bb tuning, the fifth and sixth lowest pitched strings are reversed in pitch and tuned up: the lowest pitched sixth string in a C tuning is tuned from the tonic (the 1st note of the scale) up to the dominant (the 5th note of the scale); and the next to the lowest pitched fifth string is tuned from the dominant (the 5th note of the scale) up to the tonic (the 1st note of the scale). The result is a Bb type tuning.
   Thus, in changing from a C to Bb tuning, on the two lowest pitched strings, the tonic (the I chord) becomes the dominant (the V chord) and the dominant becomes the tonic. Otherwise, the other intervals relative to each other on the four highest pitched strings stay the same. The whole tuning is often tuned down from the key of C to the key of Bb, since the fifth and sixth strings are tuned up several pitches to create a Bb tuning.
   
   [Therefore, in all sections of this Slack Key information book the Bb tunings are listed with the same number as the C tuning that they are related to.]
   
   The following chart compares the common C and Bb Mauna Loa Tunings:

   String # (highest pitched string to the lowest pitched string)	C Tuning Scale note to which open strings are tuned to in the C Mauna Loa Tuning and scale tone of that note	Bb Tuning Scale note to which open strings are tuned in the Bb Mauna Loa Tuning (put here as if it is tuned up to the key of C for convenience on this chart), and scale tone of that note
   1	E–3rd note of the scale	E–3rd note of the scale
   2	A - 6th note of the scale	A - 6th note of the scale
   3	G - 5th note of the scale	G - 5th note of the scale
   4	E - 3rd note of the scale	E - 3rd note of the scale
   5	G - 5th note of the scale	C–1st note of the scale (tuned up from the C Mauna Loa Tuning G note)
   6	C - 1st note of the scale	G - 5th note of scale (tuned up from the C Mauna Loa Tuning low C note)

   
   The Bb Mauna Loa Tuning (F–Bb–D–F–G–D) -(#Bb-23) [or (C-G-C-G-A-E) -(#C-23)] has been used by Led Kaapana and Peter Moon, both who often tune their Bb Mauna Loa Tunings up to the key of C, which is a common practice.

   Led Kaapana also sometimes uses a Bb Wahine Major 7th/9th Tuning (F-Bb–D–F–A–C) -(#Bb14) [or (C-G-C-E-G-B-D) -(#C14)], and Leonard Kwan occasionally used another Bb Wahine Tuning (F–Bb–D–F–A–D) -(#Bb12) [or C Wahine Tuning (G-C-E-G-B-E) -(#C12)].
   
   Also, C Tunings are often tuned down to the key of Bb without reversing the pitches of the lowest pitched sixth and fifth strings.

6. A Tunings: The key of A family of tunings is the one used least in the Slack Key tradition. The one A Tuning that has been used on recordings is a Mauna Loa Tuning that is played by Ray Kane (E-A-E-E-F#-C#) - (#A1).

   Gabby Pahinui sometimes tuned his C Wahine “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) -(#C-11) and the C Mauna Loa Tuning (C–G–E–G–A–E) -(#C-22) down to the key of A; and sometimes George Kuo and Dennis Kamakahi also do this for the C Mauna Loa Tuning (C–G–E–G–A–E) -(#C-22).
   
   Sonny Chillingworth often tuned the G Major Tuning (D-G-D-G-B-D) -(#G1) up to the key of A. Also sometimes the G Major Tuning (D-G-D-G-B-D) -(#G1), the G Wahine Tuning (D-G-D-F#-B-D) -(#G-4), the G Mauna Loa Tuning (D-G-D-D-G-D) -(#G-6), the G Ni`ihau/Old Mauna Loa Tuning (D-G-D-E-A-D) -(#G-11), and other G Tunings are also tuned up to the key of A.
   
   Also sometimes the Bb tunings are tuned down to the key of A
   

Slack Key Tuning Evolution

These tunings and keys are related to each other like a family tree. Some C tunings and D tunings are related to G tunings and may have been derived from them. F tunings are related to C tunings and may have been derived from them. Bb tunings are closely related to C tunings (as they are the same as the C tunings, except they are tuned down from C to Bb, and the two lowest pitched strings are reversed in pitch - see #5 in the above section THE SIX FAMILIES OF KEYS). Also, A tunings are somewhat related to G tunings.

Though no one knows for sure how slack key tunings may have evolved, below is a discussion of possible ways.

([Note: For the rest of this section, the Bb tunings [with the two lowest pitched strings reversed and tuned up, from the C tunings], will appear in brackets just after the C tuning [since tuning a C tuning to a Bb tuning is often an option] – they will also be in brackets when the Bb tunings are listed with the respective pitches when the whole Bb tuning is tuned up two half steps to the key of C [to make it easier to refer the Bb tunings to their related C tunings]. And in all sections of this Slack Key information book, the Bb tunings are listed with the same chart number as the C tunings that they are related to.] )

At least seven of the C Tunings have been (or could be) converted to Bb tunings – see the CHART OF RECORDED TUNINGS – Section IVa.

1. It is likely that one of the earliest Hawaiian tunings was derived from the Standard Spanish Tuning (E–A–D–G–B–E) –(#C-32), by retuning the two lowest pitched strings of the guitar. The lowest pitched sixth string in the Standard Tuning (the E note) may have been tuned down to C and the next lowest pitched fifth string (the A note) may have been tuned down to G [alternatively, the sixth string E note may have been tuned up to G, and the fifth string A note tuned up to C to create a Bb Tuning]. This would have put the guitar in a C Wahine Tuning, often called “Keola’s C Tuning” (C–G–D–G–B–E) -(#C-7), or the related C Wahine Tuning (G–C–D–G–B–E) -(#C-8) [or (F–Bb–C–F–A–D) -(#Bb-8 often tuned up to the key of C (G-C-D-G-B-E) -(#C-8)].)], with the four highest pitched strings remaining the same as the Standard Tuning (E–A–D–G–B–E –(#C-32).This tuning allowed Standard Tuning (E–A–D–G–B–E) –(#C-32) fingerings to be played on the four highest pitched strings, and it also resulted in two open (unfretted) bass notes on the two lowest pitched strings: the C note for the tonic I chord (the C chord) on the lowest pitched sixth string, and the G note for the dominant V chord (the G chord) on the next to lowest pitched fifth string.
   Many of the early (and current) Hawaiian songs used just the tonic I chord and the dominant V chord, and this tuning allowed those songs to be played easily with those two open (unfretted) bass notes; and this tuning, like most slack key tunings, also produced a nice resonant sound.
   
   For this C Wahine “Keola’s C” Tuning (C–G–D–G–B–E) -(#C7)[or the related C Wahine Tuning (G–C–D–G–B–E) -(#C8)], the guitar is retuned from the Standard Tuning (E–A–D–G–B–E) –(#C-32) as follows:

   String Number (from highest to lowest pitched string)	Standard Tuning	C Wahine Tuning
   1	E	= E (Same Note)
   2	B	= B (Same Note)
   3	G	= G (Same Note)
   4	D	= D (Same Note)
   5	A	-» Down to G [or up to C]
   6	E	-»Down to C [or up to G]

   
   
2. Further experimentation probably led to the fourth string D note being tuned up to the E note, to yield another C Wahine Tuning, often called “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) -(#C11), or the related C Wahine Tuning (G–C–E–G–B–E) -(#C12) [or the Bb Mauna Loa Tuning (F-Bb-D-F-G-D) -(#Bb-23), often tuned up to the key of C (G-C-E-G-A-E) -(#C-23)]. This tuning enabled the fourth string E note to be easily fretted to produce the F note, which is the 7th note of the dominant V chord (the G chord).
   
   
3. Further experimentation probably yielded the C Mauna Loa Tuning (C–G–E–G–A–E) -(#C-22), or the related C Mauna Loa Tuning (G–C–E–G–A–E) -(#C-23) [or the Bb Mauna Loa Tuning (F-Bb-D-F-G-D) -(#Bb-23), often tuned up to the key of C (G-C-E-G-A-E) -(#C-23)]. In Mauna Loa Tunings, the two highest pitched strings are tuned a fifth interval apart, so that the commonly played 6th intervals in Hawaiian music are played on the two highest pitched strings - intervals which in many other tunings are normally played on the first string and the thicker third string (or on the second and fourth strings).
   
   This main principle of Mauna Loa Tuning (with the two highest pitched strings tuned a fifth interval apart) may have also led to experimentation in the key of G, creating the most common Mauna Loa Tuning in that key (D–G–D–D–G–D) -(#G-6), which was derived from the G Major Tuning (D-G-D-G-B-D) -(#G1) as follows: by lowering the second string four half steps, in order to have the fifth interval between the first and second strings; as well as lowering the third string five half steps to the same note as the fourth string to create a drone quality, which is a unique characteristic of this G Mauna Loa Tuning (D–G–D–D–G–D) -(#G6). This drone characteristic is also present in the A Mauna Loa Tuning (E-A-E-E-F# -C#) -(#A-1) – (also see #14 below in this SLACK KEY TUNINGS EVOLUTION section).
   
   
4. Subsequent experimentation possibly resulted in the C Major Tuning, which is often called “Atta’s C Tuning” (C–G–E–G–C–E) -(#C1) [or the related C Major Tuning (G–C–E–G–C–E) -(#C2) or the Bb Major Tuning (F-Bb-D-F-Bb-D) –(Bb-1)], by tuning the second highest pitched string from the B note in the C Wahine “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) -(#C11) [or the related C Wahine Tuning (G–C–E–G–B–E) -(#C-12)] up one half step, to the C note.
   Another way the C Major “Atta’s C” Tuning (C–G–E–G–C–E) -(#C1) could also have evolved is from the C Wahine Tuning, which is often called “Dropped C Tuning” or “Leonard’s C Tuning” (C–G–D–G–B–D) -(#C-5). Here a guitarist could have created the C Major “Atta’s C” Tuning (C–G–E–G–C–E) –(#C1) by first fretting these three notes in the “Dropped C” or “Leonard’s C” Tuning (C–G–D–G–B–D) -(#C-5): on the second fret of the first string (the E note); the first fret of the second string (the C note); and the second fret of the fourth string (the E note) in the “Dropped C” or Leonard’s C” Tuning (C–G–D–G–B–D) -(#C-5) - and then tuning those three strings up so that the fretted notes become open (unfretted) notes, producing the C Major “Atta’s C” Tuning (C–G–E–G–C–E) -(#C1).

   This is the same process as three other tunings could have evolved from the Standard Tuning (E–A–D–G–B–E) –(#C-32) - (also see #5 below, in the Possible Standard Tuning Roots of Some Tunings part, in this SLACK KEY TUNINGS EVOLUTION section).
   

   String Number (from highest to lowest pitched string)	Dropped C Tuning	C Major "Atta's C" Tuning
   1	D	-» Up to E
   2	B	-» Up to C
   3	G	= G (Same Note)
   4	D	-» Up to E
   5	G	= G (Same Note)
   6	C	= C (Same Note)

   
   Then, going in the opposite direction, to achieve the C Wahine “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) -(#C11), from the C Major “Atta’s C” Tuning (C–G–E–G–C–E) -(#C1), a guitarist could have then lowered the second string one half step from the C note to the B note, yielding the C Wahine “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) -(#C11).
   
   Then from here, the guitarists probably evolved the C Mauna Loa Tuning (C–G–E–G–A–E) -(#C-22), by lowering the second highest pitched string down two half steps from the B note in the C Wahine “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) -(#C11), to the A note in the C Mauna Loa Tuning (C–G–E–G–A–E) -(#C-22).

   Still further experimentation could possibly have yielded the F Wahine Tuning, often called “Gabby’s F” (F–C–E–G–C–E) -(#F2), in which the four highest pitched strings are the same as the C Major Tuning (C–G–E–G–C–E) -(#C1), except the two lowest pitched fifth and sixth strings are tuned up in the F Wahine Tuning (F–C–E–G–C–E) -(#F2).
   Also the lowest pitched sixth, fifth, and fourth strings could have been tuned down from the F Wahine “Gabby’s F” Tuning (F–C–E–G–C–E) -(#F2), resulting in another F Wahine Tuning (C–F–C–G–C–E) -(#F3), often called “Leonard’s F.”

   Another possibility is that slack key guitarist Atta Isaacs could have evolved the C Major “Atta’s C” Tuning from hearing Gabby Pahinui play both the C Wahine “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) - (#C11) and the F Wahine “Gabby’s F” Tuning (F–C–E–G–C–E) -(#F2) - and Atta could have combined elements of both of them, by using basically the C Wahine “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) -(#C11), but tuning the second highest pitched string up one half step from the B note to the C note, the same as it is in the F Wahine “Gabby’s F” Tuning (F–C–E–G–C–E) -(#F2).
   Or, very possibly, when Atta Isaacs was playing with Gabby Pahinui, while Gabby was playing in the C Wahine “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) -(#C11), Atta could have tuned to a different tuning to compliment Gabby’s playing (as is common with slack key guitarists playing together), tuning the second highest pitched string up one half step from the B note to the C note to yield the C Major “Atta’s C” Tuning (C–G–E–G–C–E) -(#C1) - (also see the fourth paragraph of #5 below, in the Possible Standard Tuning Roots of Some Tunings part, in this SLACK KEY TUNINGS EVOLUTION section)

5. Possible Standard Tuning Roots of some tunings:

   Also, the F Wahine “Gabby’s F” Tuning (F–C–E–G–C–E) -(#F2) might have evolved by the five highest pitched strings being tuned to the same notes as the first position C Major chord in the Standard Tuning (E-A-D-G-B-E) -(#C -32), and with the lowest pitched sixth string tuned up to F for the root bass note, again yielding the F Wahine “Gabby’s F” Tuning (F-C-E-G-C-E) -(#F-3). This is the way slack key guitarist Leonard Kwan came to this F Wahine Tuning, which he occasionally used.
   
   

   String Number (from highest to lowest pitched string)	Standard Tuning	F Wahine "Gabby's F" Tuning
   1	E	= E (Same Note)
   2	B	-» Up to C
   3	G	= G (Same Note)
   4	D	-» Up to E
   5	A	-» Up to C
   6	E	-» Up to F

   
   The Bb Tunings could have evolved in a similar way. The Bb tunings all have the root (the Bb note) on the fifth string, and the 3rd (the D note) on the fourth string – those are the same relative notes on those same strings as the first position C Major chord in the Standard Tuning (E–A–D–G–B–E) -(#C-32), where the root (the C note) is fretted on the fifth string at the third fret, and the 3rd (the E note) is fretted on the fourth string at the second fret.
   
   In the Standard Tuning (E–A–D–G–B–E) -(#C-32), for the C Major chord, the sixth string is fretted on the third fret (making the G note); the fifth string is fretted on the third fret (making the C note); the fourth string is fretted on the second fret (making the E note); the third string is the open (unfretted) G note; the second string is fretted on the first fret (making the C note); and the first string is the open (unfretted) E is open (unfretted). Tuning the four fretted notes on the sixth, fifth, fourth, and second strings up to those same notes would be played open (unfretted) would yield a C Major Tuning (G–C–E–G–C–E) -(#C-2) [or (F–Bb–D–F–Bb–D) -(#Bb-2)]. Also see #13 below in this SLACK KEY TUNINGS EVOLUTION section
   
   

   String Number (from highest to lowest pitched string)	Standard Tuning	C Major Tuning
   1	E	= E (Same Note)
   2	B	-» Up to C
   3	G	= G (Same Note)
   4	D	-» Up to E
   5	A	-» Up to C
   6	E	-» Up to G

   
   This could also have evolved to the C Major “Atta’s C” Tuning (C–G–E–G–C–E)-(#C -1), by reversing the pitches on the lowest pitched sixth and fifth strings and tuning them down.

   Also in the Standard Tuning (E–A–D–G–B–E) -(#C-32), the first position A Major chord, with the sixth, fifth, and first strings open (unfretted), and notes fretted on the second fret of the fourth, third, and second strings (making the E, A, and C# notes respectively), could have been tuned up so that those three fretted notes would be played open (unfretted) in this same way, producing an A Major Tuning (E-A-E-A-C# -E), and when tuned down two half steps, yields the G Major “Taro Patch” Tuning (D-G-D-G-B-D) -(#G1).
   
   

   String Number (from highest to lowest pitched string)	Standard Tuning	A Major Tuning
   1	E	= E (Same Note)
   2	B	-» Up to C#
   3	G	-» Up to A
   4	D	-» Up to E
   5	A	= A (Same Note)
   6	E	= E (Same Note)

   
   Also in the Standard Tuning (E–A–D–G–B–E) -(#C-32), the first position E Major chord, with open (unfretted) notes on the sixth string (the E note); the second string (the B note), and the first string (the E note); and the fifth string fretted on the second fret (making the B note); the fourth string fretted on the second fret (making the E note); and the third string fretted on the first fret (making the G# note), could have been tuned up, so that those three notes would be played open (unfretted), producing an E Major Tuning (E-B-E-G# -B-E), and when tuned down two half steps, yields the D Major Tuning (D-A-D-F# -A-D) -(#D1).
   
   

   String Number (from highest to lowest pitched string)	Standard Tuning	A Major Tuning
   1	E	= E (Same Note)
   2	B	= B (Same Note)
   3	G	-» Up to G#
   4	D	-» Up to E
   5	A	-» Up to B
   6	E	= E (Same Note)

   
   

6. Another direction the experimentation might have taken from the C Wahine “Keola’s C” Tuning (C–G–D–G–B–E) -(#C7) [or (G–C–D–G–B–E) -(#C8)] (also see #1 above in this SLACK KEY TUNINGS EVOLUTION section), [Link] could have been to lower the highest pitched first string E note down two half steps to the D note, yielding the very popular C Wahine “Dropped C” or “Leonard’s C” Wahine Tuning (C–G–D–G–B–D) -(#C5) [or the related C Wahine Tuning (G–C–D–G–B–D) -(#C6)].
   
   
7. Further experimentation with the C Wahine “Dropped C” or “Leonard’s C” Wahine Tuning (C–G–D–G–B–D) -(#C5) , could have yielded the very popular and versatile G Major “Taro Patch” Tuning by raising the lowest pitched sixth string C note up two half steps to the D note (D–G–D–G–B–D) -(#G1).
   The G Major “Taro Patch” Tuning (D–G–D–G–B–D) -(#G1) could also have evolved straight from the Standard Tuning (E–A–D–G–B–E) -(#C-32) – (see #8 below in this SLACK KEY TUNINGS EVOLUTION section; also see the last paragraph in #5 above, in the Possible Standard Tuning Roots of Some Tunings part, in this SLACK KEY TUNINGS EVOLUTION section).
   
   
8. Another early primary tuning derived from the Standard Tuning (E-A-D-G-B-E) –(#C-30), was the aforementioned G Major “Taro Patch” Tuning (D–G–D–G–B–D) -(#G1) with the lowest pitched sixth string E note tuned down two half steps to the D note, the next to lowest pitched fifth string A note tuned down two half steps to the G note, and the highest pitched first string E note tuned down two half steps to the D note, yielding the G Major “Taro Patch” Tuning (D–G–D–G–B–D) -(#G1).
   Also the second, third, and fourth strings can be tuned up from the Standard Tuning (E-A-D-G-B-E) –(#C-32), to make the same G Major Tuning, but pitched up to the key of A: the second highest pitched string B note is tuned up two half steps to the C# note, the third string G note is tuned up two half steps to the A note, and the fourth string D note is tuned up two half steps to the E note, yielding E-A-E-A-C#-E. (Also see #5 above, in the Possible Standard Tuning Roots of Some Tunings part above in this SLACK KEY TUNINGS EVOLUTION section; and also see #7 above in this SLACK KEY TUNINGS EVOLUTION section)].
   The G Major Tuning (D–G–D–G–B–D) -(#G1) is the most popular of all tunings in the slack key tradition, and it is commonly called “Taro Patch Tuning”, which is a term used for this relationship of these intervals between the strings, regardless of what key the guitar is pitched to.
   
   For the G Major “Taro Patch” Tuning (D–G–D–G–B–D) -(#G1), the guitar is retuned from the Standard Tuning (E–A–D–G–B–E) -(#C-32) as follows:

   String Number	Standard Tuning	G Major (Taro Patch) Tuning
   1	E	-» Down to D
   2	B	= B (Same Note)
   3	G	= G (Same Note)
   4	D	= D (Same Note)
   5	A	-» Down to G
   6	E	-» Down to D

9. Further experimentation with the G Major “Taro Patch” Tuning (D-G-D-G-B-D) (#G1), could have resulted with the lowest pitched sixth string being tuned down two half steps to the C note, which would have yielded the aforementioned very popular C Wahine “Dropped C” or “Leonard’s C” Tuning C-G-D-G-B-D (#C5). (Also see #6 above in this SLACK KEY TUNINGS EVOLUTION section).
   
   
10. More experimentation with the G Major “Taro Patch” Tuning (D-G-D-G-B-D) (#G1), was to tune the third highest pitched string G note down one half step to the F# note, yielding the popular G Wahine Tuning (D–G–D–F#–B–D) -(#G4), which has an open major 7th note (the F# note in the G chord - and this same note is also the 3rd of the dominant D7th chord). A characteristic of this G Wahine Tuning (D–G–D–F#–B–D) -(#G4) is a distinctive Spanish sound when playing the D7th chord. The intervals on the three highest pitched strings in this D7th chord (the open F# note on the third highest pitched string, the C note on the first fret of the second highest pitched string, and the open D note on the highest pitched first string) are exactly the same intervals as a first position E7th chord in the key of A in the Standard Tuning (E-A-D-G-B-E) –(#C-32), which is very common in Spanish and Mexican music (with the Ab note on the first fret of the third highest pitched string, the D note on the second fret of the second highest pitched string, and the open [unfretted] E note on the highest pitched first string).
    
    Tunings with a major 7th note in them, such as this one, commonly called Wahine Tunings, enable the major 7th note to be easily fretted (or rapidly hammered) back to the tonic note, which very successfully mimics and complements Hawaiian vocals.
    
11. Further experimentation probably yielded the D Major Tuning (D-A-D-F#-A-D) (#D1)
    The guitar may have been retuned from the G Wahine Tuning (D-A-D-F#-A-C#) (#D4) to the D Major Tuning (D-A-D-F#-A-D) (#D1), as follows:

    String Number	G Wahine Tuning	D Major Tuning
    1	D	= D (Same Note)
    2	B	-» Down to A
    3	F#	= F# (Same Note)
    4	D	= D (Same Note)
    5	G	-» Up to A
    6	D	= D (Same Note)

    
    From here the D Wahine Tuning would have easily evolved, by tuning the highest pitched first string D note in the D Major Tuning (D-A-D-F#-A-D) (#D1) down one half step to the C# note in the D Wahine Tuning (D-A-D-F#-A-C#) (#D4).
    
12. From the G Major Tuning (D-G-D-G-B-D) (#G1), the G Mauna Loa Tuning (D-G-D-D-G-D) (#G6) also evolved, by tuning the second highest pitched string B note down four half steps to the G note, and tuning the third highest pitched string G note down five half steps to the D note. A characteristic of this G Mauna Loa Tuning is that the third and fourth strings are both tuned to the same D note, giving a powerful droning quality.
    

    String Number	G Major Tuning	G Mauna Loa Tuning
    1	D	= D (Same Note)
    2	B	-» Down to G
    3	G	-» Down to D
    4	D	= D (Same Note)
    5	G	= G (Same Note)
    6	D	= D (Same Note)

    
    
13. Bb tunings are related to C tuning, except that the two lowest pitched bass strings are tuned up and reversed in pitch from the C tunings. To convert a C tuning to a Bb tuning, the lowest pitched sixth string in a C tuning is tuned from the tonic (the 1st note of the scale) up to the dominant (the 5th note of the scale); and the next to the lowest pitched fifth string is tuned from the dominant (the 5th note of the scale) up to the tonic (the 1st note of the scale). The result is a Bb type tuning.
    
    Thus, in changing from a C to Bb tuning, on the two lowest pitched strings, the tonic (the I chord) becomes the dominant (the V chord) and the dominant becomes the tonic. Otherwise, the other intervals relative to each other on the four highest pitched strings stay the same. The whole tuning is often tuned down from the key of C to the key of Bb, due to the extreme raising of the fifth and sixth strings.
    
    [Therefore, in all sections of this Slack Key information book the Bb tunings are listed with the same chart number as the C tunings that they are related to.]
    

    (Also see the chart and explanation for the Bb tunings, #5 in the SIX FAMILIES OF KEYS section above; also see #5 above, in the Possible Standard Tuning Roots of Some Tunings part, in this SLACK KEY TUNINGS EVOLUTION section).
    
    Bb tunings may also have evolved from tuning the sixth, fifth, fourth, and second strings to the same relative notes as the first position C Major chord in the Standard Tuning (E-A-D-G-B-E) -(#C-32), yielding a C Major Tuning G-C-E-G-C-E –(#C-2); then the second string could have been tuned down a half step from the C note to the B note, yielding a C Wahine Tuning (G-C-E-G-B-E) -(#C-12); and then the whole guitar can be tuned down two half steps, to the key of Bb (F–Bb–D–F–A–D ) -(#Bb -12). (Also see #5 above, in the Possible Standard Tuning Roots of Some Tunings part, in this SLACK KEY TUNINGS EVOLUTION section).
    Also, the second highest pitched string (with the guitar pitched to the key of C) could then have been tuned two down half steps from the B note to the A note, yielding a Mauna Loa Tuning (G–C–E–G–A–E) -(#C-23); and then the whole guitar can be tuned down two half steps, to the key of Bb (F–Bb–D–F–G–D) -(#Bb-23).
    
    The Bb tunings all have the root (the Bb note) on the fifth string, and the 3rd (the D note) on the fourth string – the same relative notes on those same strings as the first position C Major chord in the Standard Tuning (E-A-D-G-B-E) -(#C-32), where the root (the C note) is on the fifth string at the third fret; and the 3rd (the E note) is on the fourth string at the second fret. Other Bb tunings then would have evolved as well.
    
    Also, the two lowest pitched strings in the Bb tunings could have been tuned down and reversed in pitch to create the C tunings. In the Bb tunings, the fifth string is the raised root note from the Standard Tuning (E-A-D-G-B-E) -(#C-32) - the C note in the key of C [and the Bb note in the key of Bb]; and the lowest pitched sixth string is the raised 5th note from the Standard Tuning (E-A-D-G-B-E) -(#C-32) - the G note in the key of C [and the F note in the key of Bb]. In the C tunings, the fifth string is the lowered 5th note (from the Standard Tuning (E-A-D-G-B-E) -(#C-32) - the G note in the key of C [and the F note in the key of Bb], and the sixth string is the lowered root note from the Standard Tuning (E-A-D-G-B-E) -(#C-32) - the C note in the key of C [and the Bb note in the key of Bb].

14. In the key of A, the one tuning that songs have been recorded in is the A Mauna Loa Tuning (E-A-E-E-F# -C#) -(#A-1). This tuning has the same intervals on the four lowest pitched strings as the G Mauna Loa Tuning (D-G-D-D-G-D) (#G6) . The two highest pitched strings are tuned differently from the G Mauna Loa Tuning as follows: the next to highest pitched second string is tuned to the 6th note (the F# note in the key of A); and the highest pitched first string is tuned to the 3rd note (the C# note in the key of A) – this is the same relationship that the two highest pitched strings are tuned to in the C Mauna Loa Tuning (C–G–E–G–A–E) -(#C-22) [or the Bb Mauna Loa Tuning (F-Bb-D-F-G-D) -(#Bb-23), often tuned up to the key of C (G-C-E-G-A-E) -(#C-23)].
    The reason this tuning is usually pitched in the key of A, is that the two highest pitched strings would be too loose to have a good tone quality if this tuning was tuned down to the key of G (in the key of G, these would be the E note on the next to highest pitched second string and the B note on the highest pitched first string).
    So, in summary, the A Mauna Loa Tuning (E-A-E-E-F# -C#) -(#A-1) combines the qualities of these two common Mauna Loa tunings: the G Mauna Loa Tuning (D-G-D-D-G-D) (#G6), with the drone sound (with the fourth and third strings tuned to the same note),and the same way of playing the sixth, fifth, and fourth strings with the thumb – this is combined with the voicings on the two highest pitched strings of the C Mauna Loa Tuning (C–G–E–G–A–E ) -(#C-22 [or the Bb Mauna Loa Tuning (F-Bb-D-F-G-D -(#Bb-23), often tuned up to the key of C (G-C-E-G-A-E) –(# C-23)].
    
    Other tunings in the key of A resulted from all the strings in the G tunings being tuned up to the key of A.
    
    
15. Also, the Standard Tuning (E–A–D–G–B–E) -(#C-32) could have evolved directly into the D Major Tuning another way (also see the third paragraph of #5 above, in the Possible Standard Tuning Roots of Some Tunings part, in this SLACK KEY TUNINGS EVOLUTION section), by keeping the fifth string A note and the fourth string D note the same, and lowering the lowest pitched sixth string and the highest pitched third, second, and first strings, therefore yielding the D Major Tuning (D-A-D-F#-A-D) (#D4) as follows:
    

    String Number	Standard Tuning	D Major Tuning
    1	E	-» Down to D
    2	B	-» Down to A
    3	G	-» Down to F#
    4	D	= D (Same Note)
    5	A	= A (Same Note)
    6	E	-» Down to D

    
    From here, the D Major Tuning (D–A–D–F#–A–D) -(#D-4) would have easily evolved into the D Wahine Tuning (D-A-D-F#-A-C#) (#D4), by lowering the highest pitched first string one half step down from the D note to the C# note.

Related Common Fingerings with Different Tunings

(Also, for the relationship between C and Bb Tunings, see # 5, the Bb Tuning part of the SIX FAMILIES OF KEYS section above).

Some tunings are related to other tunings in that they are played with the same fingerings as another tuning, but on different strings.

1. The common G Major “Taro Patch” Tuning (D-G-D-G-B-D) (#G1) and the D Major Tuning (D-A-D-F#-A-D) (#D1) have similar voicings, except that in the D Major Tuning the phrases are played one string down in pitch. For example, what is played on the highest pitched first, second, third, fourth, and fifth strings in the G Major Tuning (D–G–D–G–B–D) -(#G-1) is played on the second, third, fourth, fifth, and sixth strings respectively in the D Major Tuning (D-A-D-F#-A-D) (#D1).
   
   
2. There is also a relationship between the G Major “Taro Patch” Tuning (D-G-D-G-B-D) (#G1) and these two C Major Tunings: the C Major “Atta’s C” Tuning (C–G–E–G–C–E) -(#C-1), and the related C Major Tuning (G–C–E–G–C–E) -(#C-2) [or the Bb Major Tuning (F–Bb–D–F–Bb–D) -(#Bb-2) - which is the same tuning as #C-2, except tuned down two half steps to the key of Bb]. In these two C Major Tunings the voicings are similar to the G Major Tuning, except that in these C Major Tunings the phrases are played up one string in pitch. For example, what is played on the second, third, and fourth strings in the G Major Tuning (D-G-D-G-B-D) (#G1) is played on the highest pitched first, second, and third strings respectively in these two C Major Tunings: the C Major “Atta’s C” Tuning (C–G–E–G–C–E) -(#C-1), and the related C Major Tuning (G–C–E–G–C–E) -(#C-2) [or the Bb Major Tuning (F–Bb–D–F–Bb–D) -(#Bb-2) which is the same tuning as #C-2, except tuned down two half steps to the key of Bb].
   
   
3. There is also a relationship between the G Major “Taro Patch” Tuning (D-G-D-G-B-D) (#G1) and the C Major “Mainland Open C” Tuning (C–G–C–G–C–E) -(#C-3) {and the related Samoan C Major Tuning (F-G-C–G–C–E) -(#C-4)}. In these two C Major Tunings the voicings are similar to the G Major Tuning, except that in these C Major Tunings the phrases are played one string up in pitch. For example, what is played on the second, third, fourth, fifth, and sixth strings in the G Major Tuning (D-G-D-G-B-D) (#G1) is played on the highest pitched first, second, third, fourth, and fifth strings respectively in these two C Major Tunings, the C Major “Mainland Open C” Tuning (C–G–C–G–C–E) -(#C-3) {and the related Samoan C Major Tuning (F-G-C–G–C–E) -(#C-4)}.
   
   
4. The common C Wahine “Dropped C” or “Leonard’s C” Tuning (C–G–D–G–B–D) -(#C-5), has similar voicings to an F Wahine “Leonard’s F” Tuning (C–F–C–G–C–E) -(#F-3), except that the phrases in the F Wahine Tuning are played one string up in pitch. For example, what is played on the highest pitched first, second, third, fourth, and fifth strings in the F Wahine “Leonard’s F” Tuning (C–F–C–G–C–E) -(#F-3) is played on the second, third, fourth, fifth, and sixth strings respectively in the C Wahine “Dropped C” or “Leonard’s C” Tuning (C–G–D–G–B–D) -(#C-5).
   
   Also the C Wahine “Dropped C” or Leonard’s C” Tuning (C–G–D–G–B–D) -(#C-5), has similar voicings to “Gabby’s F” Wahine Tuning (F-C-E–G–C–E) -(#F-2), except that the higher pitched phrases and chords in the F Wahine Tuning are played up one string in pitch. For example, what is played on the highest pitched first string, and the second, and third strings in the F Wahine “Gabby’s F” Tuning (F-C-E–G–C–E) -(#F-2), is played on the second, third, and fourth respectively in the C Wahine “Dropped C” or “Leonard’s C” Tuning (C–G–D–G–B–D) -(#C-5); also the fifth and sixth strings are played the same way in both of these tunings.
   
   
5. The “Gabby’s Hi’ilawe”, or “Hi’ilawe Tuning” (C–G–E–G–B–E) -(#C-11) has similar voicings to the D Wahine Tuning (D–A–D–F#–A–C#) -(#D-4), the phrases are played one string up in pitch from what is played in the C Wahine “Gabby’s Hi’ilawe”, or “HI’ilawe” Tuning. For example, what is played on the three highest pitched first, second, and third strings in the D Wahine Tuning (D–A–D–F#–A–C#) -(#D-4) is played on the second, third, and fourth strings respectively in the C Wahine “Gabby’s Hi’ilawe” Tuning (C–G–E–G–B–E) -(#C-11).
   
   
6. The Bb Wahine Tuning (F–Bb–D–F–A–D) –(#Bb-12) [or the C Wahine Tuning (G–C–E–G–B–E) -(#C-12) - which is the same tuning as #Bb-12, except it is tuned up two half steps to the key of C] has similar voicings to the D Wahine Tuning (D–A–D–F#–A–C#) -(#D-4), except that in the D Wahine Tuning the phrases are played one string up in pitch. For example, what is played on the highest pitched first, second, third, fourth, and fifth strings in the D Wahine Tuning (D–A–D–F#–A–C#) -(#D-4), is played on the second, third, fourth, fifth, and sixth strings respectively in the Bb Wahine Tuning (F–Bb–D–F–A–D) –(#Bb-12) [or the C Wahine Tuning (G–C–E–G–B–E) -(#C-12) - which is the same tuning as #Bb-12 , except it is tuned up two half steps to the key of C]
   
   (Also, for the relationship between C and Bb Tunings, see # 5, the Bb Tuning part of the SIX FAMILIES OF KEYS section above).
   
7. Tunings with the “My Dog Has Fleas” intervals are tuned in this way: with four successive strings with these intervals between them, from the lowest pitched string of the four strings to the highest of the four strings: a 4th interval between two strings, a 3rd interval between two strings, and a 4th interval between two strings.
   
   For example, the same “My Dog Has Fleas” intervals and notes are in the four highest pitched strings of all of these tunings: Standard Tuning (E–A–D–G–B–E) -(#C-32), the Dropped D Tuning (D–A–D–G–B–E) -(#D-7), the G Sixth Tuning (D–G–D–G–B–E) -(#G-15), and the C Wahine “Keola’s C” Tuning (C–G–D–G–B–E) -(#C-7) {and the related C Wahine Tuning (G-C–D–G–B–E) -(#C-8) – [or the Bb Wahine Tuning (F-Bb-C-F-A-D) –(#Bb-8) – which is the same tuning as #C-8, except it is tuned down two half steps to the key of Bb]}.
   
   Also there are similar “My Dog Has Fleas” intervals in the middle four strings (the second, third, fourth, and fifth strings) of two D tunings: the D Sixth Tuning (D–A–D–F#–B–D) -(#D-8) and the D Ni’ihau/Old Mauna Loa “Cyril’s D” Tuning (D–A–D–F#–B–E) -(#D-6) – and the voicings are similar to the tunings mentioned in the previous paragraph, except that the phrases are played one string down in pitch. For example, what is played on the four highest pitched first, second, third, and fourth strings in the tunings in the paragraph just above [Standard Tuning (E–A–D–G–B–E) -(#C-32), the Dropped D Tuning (D–A–D–G–B–E) -(#D-7), the G Sixth Tuning (D–G–D–G–B–E) -(#G-15), and the C Wahine “Keola’s C” Tuning” (C–G–D–G–B–E) -(#C-7) {and the related C Wahine Tuning (G-C–D–G–B–E) -(#C-8) [or the Bb Wahine Tuning (F-Bb-C-F-A-D) –(#Bb-8) –which is the same tuning as #C-8 except it is tuned down two half steps to the key of Bb]} - is played on the second, third, fourth, and fifth strings respectively in the two D tunings listed in this paragraph, the D Sixth Tuning (D–A–D–F#–B–D) - (#D-8) and the D Ni’ihau/Old Mauna Loa “Cyril’s D” Tuning (D–A–D–F#–B–E) -(#D-6).
   
   

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