Don't underestimate the power of the false nut. I keep a spare in my wallet...
Beware of Bluegrassers they are their own kind of people, sometimes getting unsettled around dulcimers in a jam... Robert
From Bagpipe Ddd I go to Gdd by using a false nut on the 3rd fret of the bass string.
I would also add to Robs answer by saying. I tune my baritone DOWN to Gdd and Gdg. And take advantage of both octaves. Putting me in the same range as guitar/banjo... Robert.
Mark, Dusty's option of using a capo is quite viable. I use one myself, sometimes. However, depending on what's being played, I'd rather retune. I read an interview in DPN with Alan Freeman where he said something to the effect that we're already "missing" frets so why would you want to shorten the fingerboard with a capo and make more frets unusable? Even tho' I was using a capo a lot at the time, that thought stuck with me. I'm trying to play a lot of tunes/songs in the correct key without using a capo and staying (like Dusty) in DAd tuning. [To reiterate what he said, the lower case d just means it's an octave above the bass D.] I play Down Yonder and Silver Bells (not the Christmas one, the Mexican Polka) in G and You'll Never Leave Harlan Alive in A without either retuning or using a capo. If'n I'm just going to be chording, playing rhythm, like Dusty (again,) I play barre chords without using a capo or retuning for G and A tunes.
I usually take (at least) 2 instruments to jams: 1 tuned DAd, 1 tuned DAA, both of them 3 courses. The DAd I can tune to G DGd, A minor EAd, D minor DAc and the DAA I can tune to A major EAA or D minor DAG all with moving only one string. If I take a 3rd instrument, it will be tuned to G, either a Jim Good in his special G tuning or a small 4 string Paul Pyle tuned GDDg.
You see, you've got options. That's something that makes this instrument really cool and also really frustrating (as in capo or retune or another instrument, yeah that's the one!) at the same time. Those folks that like things really cut and dry can have a problem getting their heads around such things. LOL. Well, I've probably confused you enough for now. Keep picking
Mark, I play in a modern chording style and what I would do is put a capo on the third fret. Then you can pretend you are playing in D but you will actually be in G. You can also put the capo on the fourth fret to play in A. For me that's easier than learning DGd tuning, which requires new fingering for the chords.
Most bluegrass tunes have a standard key. Billy in the Lowground is always played in C. Saint Anne's Reel is always played in D. Blackberry Blossom is always played in G. Red-haired Boy is always played in A. When I practice songs that I expect to play in bluegrass jams I always try to practice them in the standard key. And since I am one of those unimaginative people who mainly plays in DAd, I can get all those keys pretty easily. I tune down to CGc for the key of C, but the other three keys I can get out of DAd with a handy capo.
The lower case d in DGd just indicates that the melody string is an octave above the bass string.
Barre chords are a good idea, especially if you are playing the role of the mandolin, where you want that fast percussive chop. You get that chop from lifting up your fingers right after striking the chord to stop the notes from ringing. You don't actually take your fingers off the strings, but merely stop pressing them onto the fretboard so that your fingers mute the sound. And if you don't know a chord or two, just mute the strings and strum anyway. If you stay on beat no one will mind.
Mark, I would use DGd, tuning down the middle string from A to G. All D's will work, too. Makes the G on the 3rd fret.
