No one can tell you what you should do.

From a practical musical standpoint, the only way to play a tune in D that you know in G without "overhauling" your arrangement is to capo at 7 (fifth at 12) to play in D as if in G.

Every other practical way to play in D -- capoing 2 to play as if in C or not capoing and just work out an arrangement in key of D in G tuning -- requires you to totally change what you're doing. Even though playing it in D with no capo and no retuning still uses G and D chords, they've changed functions, so you won't use them the same way.

You could tune the banjo to some kind of D tuning, but II think that would sound vastly different.

Good luck.

Few people will capo up to 12 to get to D. Most will either play out of open D or capo up 2 and play out of C.

It's always a good idea to learn a song in G and C (or open D) so you can capo up to whatever major key is called out for it.

Thanks for the perspectives. I ended up doing a solo with just closed chords way up the neck in D, it sounded OK.

That’s one of the unwritten rules of the jam: whoever sings lead gets to choose the key. It may seem annoying at first but it forces you to explore new ways of playing a tune which makes it a good learning experience.

Although I agree that's the rules of the jam, the key of D for that song is pretty odd.

If it was a fiddle player who called that, I'd go to the bathroom during their song and when I get back, I'm calling the clinch Mountain back step in the key of A sharp. That's capo three to me. Good luck fiddle boy!

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Originally posted by randybartlett

Although I agree that's the rules of the jam, the key of D for that song is pretty odd.

If it was a fiddle player who called that, I'd go to the bathroom during their song and when I get back, I'm calling the clinch Mountain back step in the key of A sharp. That's capo three to me. Good luck fiddle boy!

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Now now, Dear Lad... jams are NOT supposed to be blood sports.

I mean, I get that they sometimes are, but even so....

I can visualize a break in open G tuning playing in D. It's something I would have to practice with to work it out. Having played banjo in several bands with women singers, I have gotten used to figuring out breaks in unusual keys.

Learning to play out of C and D shapes without capoing (more than the fifth string) is definitely something to work toward.

I see it as an extension of learning to play up-the-neck breaks in G (where the root note is on the second string rather than on the third string). Learn to do that, then move it back down the neck to play in C or D. It will make you a much more versatile player.

I have one banjo tuned to d for just such occasions when I want to play open chords.

Rick

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Originally posted by randybartlett

Although I agree that's the rules of the jam, the key of D for that song is pretty odd.

If it was a fiddle player who called that, I'd go to the bathroom during their song and when I get back, I'm calling the clinch Mountain back step in the key of A sharp. That's capo three to me. Good luck fiddle boy!

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I'm right there with you!   It would be like someone wanting us to play Foggy Mtn Breakdown in D.   I'd say "what ?...ugh nope".  ??

I don’t think banjo players should rule the key for songs (with instrumentals it's different) just cuz they learned Earl’s breaks out of certain keys and shapes. Somebody a while back sang Fireball Mail in D ,, I fudged a break out of C shape. What doesn’t kill ya makes ya stronger….. ;-)

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Originally posted by chuckv97

I don’t think banjo players should rule the key for songs (with instrumentals it's different) just cuz they learned Earl’s breaks out of certain keys and shapes. Somebody a while back sang Fireball Mail in D ,, I fudged a break out of C shape. What doesn’t kill ya makes ya stronger….. ;-)

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Indeed, that's what Earl might have done.

Maybe even played from dropped C tuning.

While there is nothing against playing in C from open G, 

I just took my banjo and tried BCH in D from open G with the 5th spiked to A. What makes this 'D mode' so great is that all chord shapes remain the same as in G tuning, while getting a deep D note from the 4th string, like you would from dropped C tuning, capo2. Except, there you'd be looking at different chord shapes altogether.

I started exploring this mode when figuring out Steve Huber's 'Pullin' Time' by ear, some 30 years ago (in E, so capo 2, spike B). 

I've been playing in bands with my wife Elly for over 40 years now, hence doing material in keys that fits our voices, in the keys of G up to F.

Öur first adapted song was 'Lamplighting time in the valley'.(in D!). To me, that worked best in C mode (with capo 2 and spike to A). I listened close to Pete's great playing (in A) and then made up something new...

In Monroe's 'Can't you hear me calling' in Bb, we solved it differently. She sang lead on the verses, with me lead on the choruses and her moving up to tenor. Banjo (G mode, capo 3) remained unchanged here....

If we're lucky enough to have strong female singers at a jam we should learn to play in the keys that are best for their voices.

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Originally posted by earlstanleycrowe

If we're lucky enough to have strong female singers at a jam we should learn to play in the keys that are best for their voices.

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I've been so lucky being in that situation already 40 years ago. 

All you'd have to learn would be playing from C to E or from D to F.

Like mentioned before, learning playing in the second octave in G ( between frets 5 and 12) opens up those modes too.

The Eclectic Banjo,

Here's a tablature for a Scruggs style arrangement in the key of C, played in standard G-tuning. Capo at the second fret and you're good to go in the key of D.

Blue Ridge Cabin Home.tef

Blue Ridge Cabin Home.pdf
 

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Originally posted by chuckv97

I don’t think banjo players should rule the key for songs (with instrumentals it's different) just cuz they learned Earl’s breaks out of certain keys and shapes. Somebody a while back sang Fireball Mail in D ,, I fudged a break out of C shape. What doesn’t kill ya makes ya stronger….. ;-)

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Funny you should mention that. I used to play in a band with a fellow who does a wonderful version of Summer Wages in B. Moving up in key is one thing, moving down is another. I figured out how to play it in open G tuning without a capo but it took a lot of practice.

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Originally posted by RB3

Here's a tablature for a Scruggs style arrangement in the key of C, played in standard G-tuning. Capo at the second fret and you're good to go in the key of D.

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Excellent!

Only a banjo player would be aware of the difference in approach.

Someone on the Hangout (possibly Steve Davis) once said something about playing in D (and maybe C as well) that was an eye-opening "I never thought of it that way" moment for me. And I'd been playing for decades at that point.

It is this:

Any up-the-neck solo you'd play in G tuning -- centered on the two-note partial G at 8th and 9th frets of 1st and 2nd strings can be moved down the neck to play in D. All those G licks at 8 and 9 become D licks at 3 and 4. Sure, they sound a little different. But they work. Raising the fifth string to A can help.

From the D shaped D chord for I (one) you can move to the F shaped G and A chords for IV and V. Of course, you can drop to open G for the IV and use every G lick you know, even if you've raised the fifth to A. Since G is the IV instead of the I, you might sometimes alter the last note of a lick to lead better into the next chord.

I'm still not great at this, but getting better. A big help to me came about 15 years ago when a band I joined was covering the Bluegrass Album Band version of Tear My Stillhouse Down. We were playing it in D like their recording. I could tell that capoing 2 and playing as if in C wasn't going to cut it, so I learned it off the record. Figured out the fifth was raised to A. That one song gave me a lot of basics for playing in D with no capo. A lot of what I do in that situation sounds the same, but so what?  At least I know something to do.