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Guitar tuning

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Guitar tuning refers to the pitch adjustments carried out on the individual strings of a guitar in order to achieve a prescribed arrangement of notes from the open (unfretted) strings. Many such arrangements are used, of which the most popular are detailed below.

Contents

[edit] Standard tuning

As its name implies standard tuning is by far the most popular tuning on a 6-string guitar, it comprises the following note arrangement.

String Note Frequency
1 (thinnest) e' 329.6 Hz
2 b 246.9 Hz
3 g 196.0 Hz
4 d 146.8 Hz
5 A 110.0 Hz
6 (thickest) E 82.4 Hz

Image:Guitarchords.jpg

[Note: The guitar is a transposing instrument. Its pitch sounds one octave lower than it is notated, the pitches referred to above are referenced standard pitch (a' = 440hz)].

This pattern can also be denoted as E-A-d-g-b-e'. (See note for an explanation of the various symbols used in the above table and elsewhere in this article.)

Standard tuning has evolved to provide a good compromise between simple fingering for many chords and the ability to play common scales with minimal left hand movement.

The separation of the first (e') and second (b) string, as well as the separation between the third (g), fourth (d), fifth (A), and sixth (E) strings by a 5-semitone interval (a perfect fourth) allows notes of the chromatic scale to be played with each of the four fingers of the left hand controlling one of the first four frets (index finger on fret 1, little finger on fret 4, etc.). It also yields a symmetry and intelligibility to fingering patterns.

The separation of the second (b), and third (g) string is by a 4-semitone interval (a major third). Though this breaks the fingering pattern of the chromatic scale and thus the symmetry, it eases the playing of some often-used chords and scale, and it provides more diversity in fingering possibilities.

[edit] Alternate tunings

Alternate tuning refers to any open string note arrangement other than that of standard tuning detailed above. Despite the usefulness and almost universal acceptance of standard tuning, many guitarists employ such alternate tuning arrangements in order to exploit the unique chord voicing and sonorities that result from them. Most alternate tunings necessarily change the chord shapes associated with standard tuning, which results in certain chords becoming much easier to play while others may become impossible to play.

[edit] Rock music tunings

Guitar tunings in rock music and metal mainly aim at making power chords much simpler to play.

This tuning is not only used by metal and rock bands, but also folk musicians. It allows power chords (also known as fifth chords) to be played with a single finger on the lowest three strings. It is also used extensively in classical guitar music and transcriptions since it allows the lower open strings to sound the root and fifth of the D major scale as part of the bassline.Some guitarists choose to use a capo on the 2nd fret with this tuning so that they can retain the ease of playing power chords without the darker sound created by the D tuning. Examples of this include the band Angels and Airwaves and Billy Talent.

  • Dropped C: C-G-c-f-a-d'

This tuning is the same as dropped D, but each string is lowered an additional whole step, or 2 semitones. Technically a "drop C" tuning would be C-A-D-G-B-e. However, the tuning technically known as "Dropped D tuned down 1 whole step" is commonly referred to as "Dropped C" tuning, as very few people drop only the sixth string (although Zakk Wylde has been known to occasionally drop only the sixth string in tuning). This gives the guitar a very low and heavy sound, and usually requires extra-thick strings to maintain tension. This tuning is frequently used by rock bands, such as Godsmack, Thrice, Mudvayne, Bullet For My Valentine and System of a Down, as well as various metalcore bands, such as Atreyu and It Dies Today, to achieve the lowest sound possible. Tuning a standard, non-baritone guitar any lower than this is difficult.

  • Dropped B: B-F#-B-e-g#-c#'

This tuning is the same as dropped D & C, but lowered from dropped C an additional semitone, or half step. This tuning is very popular with nu-metal act Slipknot, metalcore act Bleeding Through, and other alternative metal/post-grunge bands. Very heavy gauge strings are required for this tuning.

  • Dropped A: A-E-A-d-f#-b'

A very low drop tuning used very rarely in metal and death metal bands.

  • "Hardcore" Tuning: C-G-c-f-a-a#'

A rather uncommon tuning, "hardcore" tuning is used by bands of hardcore, grindcore, and even some metalcore. It much resembles dropped C tuning, except for the two bottom strings, which, depending on what is most useful for the guitarist, are tuned one semitone (a minor second) apart. This allows the guitarist to easily create the very harsh dissonance of the minor second. It is often used by Norma Jean, Drop Dead, Gorgeous, The Devil Wears Prada, Fear Before The March Of Flames, The Locust, and The Bled,and Sinai Beach to name but a few.

  • E-flat Tuning: Eb-Ab-db-gb-bb-eb'

This tuning is achieved when all the strings are flattened by a half step. Bands that use or have used this include Simple Plan, Taking Back Sunday, Guns N' Roses, Led Zeppelin, Coheed and Cambria, Relient K, Weezer, Nirvana, Stevie Ray Vaughan, The Smashing Pumpkins, Iced Earth, Green Day, Eskimo Joe, Jimi Hendrix, KISS and Van Halen. This can be combined with other tuning techniques such as dropped D tuning and makes no difference to fingering. Often the key will be considered by the players as if played in standard tuning. This tuning can be used for a number of reasons: to make larger strings bend more easily, to make the tone heavier, to better suit the vocalist's range, to play with saxophone family more easily, or to play in Eb pentatonic minor formed by the black keys of a keyboard. Heavier bands may tune down to D, C#, or even C. B is possible but sometimes seven string guitars are used instead.

A common reasoning to be considered in downtuned guitars is that generally, the lower the notes associated with that tuning, the "muddier" aka "less focused" that guitar sounds. Many bands/guitarists try to "mask" the sound by using other strategies, but in the end, all general problems lead to the same main idea: you can't hide a note. It is to be considered that many contemporary rock/metal bands associate the tuning with exploiting the lowest chords possible. This has been widely recognized at the dawning of metal/music, but gained much more "momentum" in the strengthening of Metallica's heyday.

[edit] Classical guitar tunings

The classical guitar developed over a period of 500 years and a number of guitar tunings are commonly used this genre, some based upon historical practice. Unlike other musical styles, in which alternate tunings are used by artists largely as a matter of individual preference, in classical guitar styles, the decision to employ alternate tunings such as this largely resides with composers or (more usually) arrangers of musical transcriptions. Thus, classical guitarists performing known transcriptions are assumed to be using defined tunings.

  • Renaissance lute tuning: E-A-d-f#-b-e'

This tuning may also be used with a capo at the third fret to match the common lute pitch: G-c-f-a-d'-g'. This tuning also matches standard vihuela tuning and is often employed in classical guitar transcriptions of music written for those instruments.

  • "Pseudo Russian" or "g" tuning: D-G-d-g-b-e'

A versatile tuning examples of which can be heard in Choro de Saudade by Agustín Barrios and also in well known transcriptions of La Maja de Goya by Enrique Granados and Sevilla by Isaac Albéniz.

Various other scordatura have been utilised by composers and players, dependent on the demands of the music, for example Fernando Sor wrote pieces for the sixth string tuned to F and the twentieth century player John Williams tuned his fifth string to B for his transcription of Granada by Isaac Albéniz, recorded in 1980.

[edit] Open tunings

An open tuning is a type of guitar tuning in which the open strings are tuned to form a common chord (usually major) which can be 'transposed' to any higher pitch simply by placing a finger across all of the strings at any chosen fret. Blues slide guitarists often take advantage of this effect, whereas fingerstyle guitarists tend to use various combinations of the open strings to provide a sustained chordal accompaniment to melodies played on fretted higher strings.

  • Open G: D-G-d-g-b-d'

This tuning is commonly used for blues, or slide guitar. In classical guitar this is sometimes referred to as the dropped G tuning. It retains the relationship of the fourth between the two lower strings. This is also known as 'bluegrass guitar' tuning.

  • Open D: D-A-d-f#-a-d'
  • Open E: E-B-e-g#-b-e'
  • Open A: E-A-e-a-c#'-e'
  • Open C: C-G-c-g-c'-e'
  • Open D minor: D-A-d-f-a-d'

[edit] Miscellaneous tunings

  • Dobro: G-B-d-g-b-d'

This is commonly used for squareneck resonator guitars. The lack of a low D means that a complete strum does not have the same harmonic strength that the Open G has.

  • All fourths: E-A-d-g-c'-f'

This tuning is like that of the lowest four strings in standard tuning. It removes from standard tuning the irregularity of the interval of a third between the second and third strings. With regular tunings like this, chords can simply be moved down or across the fretboard, dramatically reducing the number of different finger positions that need to be memorized. The disadvantage is that not all major and minor chords can be played with all six strings at once.

  • All fifths: C-G-d-a-e'-b'

This is a tuning in intervals of fifths like that of a mandolin or a violin. Has a remarkably wide range, though it is difficult to achieve (the high b" makes the first string very taut such that it will break easily), and may not play well on an acoustic guitar (the low C is too low to resonate properly in a standard guitar's body).

This is a devised by Robert Fripp of King Crimson, used by most Guitar Craft students around the world. The tuning is similar to all fifths except the first string is dropped from b' to g'. Some guitarists maintain that the term 'New Standard Tuning' is a misnomer and consider it to be a source of controversy, but the name appears to have stuck due the absence of viable alternative designations. Time will tell whether the tuning is in fact accepted outside of GC as a viable all-purpose tuning.

Popularised by Davey Graham after having been inspired by Arabic oud tuning while living in Morocco, DADGAD tuning is now frequently used in Celtic music, and by artists such as Neil Young, Jimmy Page, Pierre Bensusan, Soig Siberil and Paul McSherry.

This tuning devised in 1960s by jazz guitarist Ralph Patt.

  • Orkney tuning: C-G-d-g-c'-d'

It is a wonderful tool for melodic (non-linear) playing, in which you avoid playing subsequent notes on the same string.

  • Nashville tuning

This is achieved on a high-strung guitar - a guitar strung with only the high strings of a 12-string guitar set. This is known as "Nashville tuning" when the strings are in standard tuning.

  • G tuning G-c-f-b♭-d'-g'

Some guitar manufacturers recommend all six strings of their mini-scaled (3/4 and 1/2) guitar models (Epiphone Flying Vee-Wee, for example) be tuned one and a half steps or a minor-third higher than standard tuning. This is primarily intended to keep good tuning stability of those short-scaled guitars with the tension of strings close to that of the original strings design. For example, a 1/2 scale Johnson mini-Strat type guitar has a scale length of 20.75 inches, about 18% shorter than that of a regular Strat's 25.5 inches, requiring about the same magnitude of less tension on strings in order to produce the same pitches with the same string gauges, which often could result in a significant tuning stability problem. Unlike other alternative tunings, this tuning maintains the relative pitches or intervals of standard tuning between strings so that it only requires simple transposing for playing any score.

A tuning pioneered by Lou Reed in which all strings are tuned to D.

  • 12-string guitar tuning used in traditinal Swedish folk music A (one octav below regular)-D (one octave below regular)-A-D-a-d

This tuning was pioneered by Roger Tallroth, a guitarist and folk musician from sweden. By using thick nylon strings (for tenor guitar) on the low A and low D (tuned unison), it creates a very fat bass guitar sound to the 12-string guitar and i suited to play a lot of bass walkings. The tuning is widely used in Sweden for playing traditional Swedish folk music.

[edit] Complete range of string pitch combinations

Each of the six strings can be alternately tuned as low as a whole step lower and as much as a whole step higher without stressing the neck or the strings. With five possible tunings for each string (+2, +1, 0, -1, and -2), there can be as many as 15,625 possible tunings for a six-string guitar. Note that a standard guitar sounds one octave below pitch as written in standard notation. That is, the first string in standard tuning plays the E note that is a major third above middle C, and is written on the staff as a major tenth above middle C.

There are also tenor guitars, baritone guitars tuned BEADF#B (or ADGCEA, GDGCDG, GDGCEA, GCGCEG, etc.) a fourth lower than a standard (prime) guitar, treble guitars tuned a fourth higher than a prime guitar and contrabass guitars, which are tuned one octave lower than prime guitars. Seven string guitars have an extra low string which is a B in standard tuning.

[edit] Artists noted for their use of alternate tunings

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[edit] External links

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