VARIOUS/ALTERED
TUNINGS FOR GUITAR
Many of the tunes on this site can be seen playing in TablEdit on YouTube at:
https://www.youtube.com/channel/UC0md259-P6GwpX7okCfMB1w/videos
Various/Altered Tunings For Guitar (Including Open
and Alternative Tunings)
TUNINGS: |
Sound
Midi Files: |
USUAL
NAME: |
ALTERNATIVE
NAMES &
INFORMATION: |
T'n'T
No.: |
6 |
5 |
4 |
3 |
2 |
1 |
E |
A |
D |
G |
B |
E |
|
Standard Tuning |
Normal Tuning
Universal Tuning
Old Standard Tuning
OST |
001 |
D |
A |
D |
G |
B |
E |
|
Dropped 'D'
Tuning |
'D' Tuning,
Lowered 'D' Tuning
Low 'D' Tuning
Drop 'D'
Dropped 'D'
English 'D' Tuning
Open G6 Tuning
Down D Tuning
Reynardine Tuning (tune guitar 1/2 step down to slacken strings in this tuning version) |
002 |
D |
G |
D |
G |
B |
E |
DGDGBE |
Dropped 'G'
Tuning |
Lowered
'G' Tuning
Low 'G' Tuning
Double Dropped 'D' Tuning (see also DADGBD)
Drop 'G', Bastard 'G'
Open G6th Tuning
Dropped D-G
Pseudo Russian Tuning
English Tuning
English D Tuning
Dropped DG, Drop D
Half-Spanish |
003 |
D |
G |
D |
G |
B |
D |
|
Open 'G' Tuning |
Slack-Key
Spanish Tuning
Hawaiian Tuning
Sebastopol Tuning
Open G Major Tuning
Taro Patch Tuning (1) |
004 |
D |
A |
D |
F# |
A |
D |
|
Open 'D' Tuning |
Vestapol Tuning
Sebastopol Tuning
'D' Tuning
Nick Drake (9)
Vasserpoo Tuning
Vestibule Tuning |
005 |
C |
G |
C |
G |
C |
E |
|
Open 'C' Tuning |
Banjo-Double
C |
006 |
E |
A |
C# |
E |
A |
E |
|
Open 'A' Tuning
(1) |
|
007 |
E |
A |
E |
A |
C# |
E |
|
Open 'A' Tuning
(2) |
|
008 |
E |
B |
E |
G# |
B |
E |
|
Open 'E' Tuning
(1) |
|
009 |
E |
A |
E |
G# |
B |
E |
|
Open 'E' Tuning
(2) |
|
010 |
E |
B |
E |
G# |
C# |
E |
|
Open 'E6th'
Tuning (1) |
C# minor
7th Tuning |
011 |
E |
B |
E |
G# |
B |
C# |
|
Open 'E6th'
Tuning (2) |
|
012 |
E |
A |
E |
A |
C |
E |
|
Open 'A minor'
Tuning (1) |
|
013 |
E |
A |
C |
E |
A |
E |
|
Open 'A minor'
Tuning (2) |
|
014 |
D |
A |
D |
F |
A |
D |
|
Open 'D minor'
Tuning |
Cross-Note
Tuning
D-Cross-Note Tuning
Open Dm |
015 |
E |
B |
E |
G |
B |
E |
|
Open 'E minor'
Tuning |
Cross-Note
Tuning
E-Cross-Note Tuning |
016 |
D |
G |
D |
G |
Bb |
D |
|
Open 'G minor'
Tuning |
G-Cross-Note
Tuning |
017 |
D |
G |
D |
G |
C |
D |
|
G-Modal Tuning |
Saw-Mill Tuning
Mountain Modal Tuning
Strathspey Tuning
Gsus4 Tuning |
018 |
D |
A |
D |
G |
A |
D |
|
D-Modal Tuning |
'DADGAD' Tuning
Kashmir |
019 |
E |
A |
D |
F# |
B |
E |
|
Lute Tuning
|
Vihuela Tuning
Elizabethan Lute Tuning
Nick Drake (5)
Clive Carroll Lute Tuning |
020 |
E |
A |
D |
G |
B |
D |
|
Lowered 1st
Tuning |
Fake G
Flip D Tuning
High D
Adrianne Lenker-1
|
021 |
E |
A |
Db |
G |
B |
E |
|
Lowered 4th
Tuning |
|
022 |
C |
G |
C |
G |
A |
D |
|
'C-D' Tuning |
Rememberance
Tuning
Michael Hedges Tuning (3) |
023 |
C |
G |
D |
G |
B |
E |
|
|
Drop 'CG',
Drop 'C', Dropped 'C', Dropped 'CG'
C Wahine Tuning
Keola’s C
Jessica / Jolymont
Oxbow |
024 |
D |
A |
D |
G |
A |
E |
|
|
Dropped
'D' (2)
Drop 'D' (2) |
025 |
E |
A |
D |
E |
A |
E |
|
|
Open 'E'
[modal] |
026 |
C |
G |
C |
G |
C |
F |
|
|
Ravi Shankar
Tuning |
027 |
D |
A |
E |
G |
B |
E |
|
|
|
028 |
D |
A |
D |
A |
A |
D |
|
|
Raga Tuning
Wakeling |
029 |
C |
G |
D |
G |
A |
D |
|
Low 'C' |
Lowered 'C'
Tuning
New Jersey Tuning
Face Tuning
Whistling Milkman
Rakes Tuning |
030 |
C |
G |
D |
G |
B |
D |
|
Drop C |
Open 'G'
[major] (with C bass)
Wahine (1)
Ozzie Kotani Tuning |
031 |
D |
G |
D |
G |
A |
D |
|
|
|
032 |
D |
A |
D |
G |
B |
D |
|
Nick Drake
(8) |
Double-drop
'D' Tuning
Double Dropped 'D' Tuning
Drop D High D
|
033 |
D |
A |
D |
E |
B |
C# |
|
|
|
034 |
C |
G |
C |
G |
A |
C |
|
|
Pastoral
Tuning
C6 no 3rd
Ugly Duckling |
035 |
D |
A |
D |
F# |
B |
D |
|
|
Phil Keaggy
(1) |
036 |
C |
G |
D |
G |
Bb |
D |
|
|
Sad Pig
Tuning
Dave Evans Tuning (1)
(Also occasionally shown as CGDGA#D) |
037 |
D |
A |
D |
F# |
A |
C |
|
|
|
038 |
D |
A |
D |
F# |
A |
C# |
|
|
Wahine (2)
D Wahine
D maj7 Tuning
Soft Tuning |
039 |
D |
A |
D |
E |
B |
D |
|
|
|
040 |
D |
A |
D |
E |
A |
D |
|
|
Pelican
Tuning
Halloween Tuning |
041 |
D |
G |
D |
E |
A |
D |
|
|
|
042 |
D |
G |
D |
E |
B |
D |
|
|
G6 Tuning |
043 |
D |
A |
D |
G |
D |
D |
|
|
|
044 |
D |
F# |
D |
G |
B |
E |
|
|
|
045 |
E |
G |
D |
G |
B |
E |
|
Klezmer |
|
046 |
G |
G |
D |
G |
B |
D |
|
Nick Drake (2) |
Open 'G'
Tuning
Keith Richard's Tuning
John Fahey - 4 |
047 |
D |
A |
D |
D |
A |
D |
|
Open 'D'
(2) |
Too Many
D's
Four & Twenty
Modal Tuning
D Modal
Papa-Papa
Double Dad |
048 |
D |
A |
D |
E |
A |
E |
|
|
Overpower
Tuning |
049 |
D |
B |
D |
G |
B |
F |
|
|
|
050 |
C |
A |
B |
A |
B |
E |
|
|
|
051 |
G |
D |
G |
D |
B |
D |
|
|
|
052 |
C |
G |
C |
G |
B |
E |
|
|
|
053 |
C |
G |
C |
G |
C |
C |
|
|
McDonald
Tuning |
054 |
D |
G |
D |
G |
G |
D |
|
Open 'G'
(4) |
Too Many
G's |
055 |
C |
G |
C |
G |
G |
C |
|
|
|
056 |
D |
A |
D |
A |
D |
D |
DADADD |
|
Additional
Father
Open D (2) |
057 |
D |
A |
D |
F# |
A |
C# |
DADF#AC# |
|
|
058 |
D |
F# |
D |
G |
B |
D |
DF#DGBD |
|
|
059 |
E |
E |
B |
E |
B |
E |
EEBEBE |
|
|
060 |
D |
G |
D |
D |
A |
D |
|
|
|
061 |
C |
G |
D |
G |
C |
D |
|
Mountain
Minor |
Shifted
DADGAD
Orkney Tuning
Gsus4 with C bass |
062 |
D |
A |
D |
F# |
A |
B |
DADF#AB |
|
|
063 |
C# |
F# |
C# |
F# |
C# |
F# |
C#F#C#F#C#F# |
|
|
064 |
D |
A |
D |
G |
G |
D |
|
|
|
065 |
E |
E |
E |
E |
B |
E |
EEEEBE |
Still's Tuning |
Too Many
E's
Palmer Modal
Palmer Tuning
Suite Judy |
066 |
D |
A |
D |
G |
C |
C |
DADGCC |
Hedge's Tuning
(1) |
|
067 |
D |
A |
E |
E |
A |
A |
DAEEAA |
Hedge's Tuning
(2) |
|
068 |
E |
A |
D |
G |
B |
E |
|
Nashville
Tuning
(See Note 2. Below) |
Hi-Note
Tuning
Hi-Strung Tuning
How to get into Nashville
Tuning: - Here's how you do it :-
- Leave the high E and B strings alone,
they stay the same.
- Use a 009 or 010 as a G string and tune it up to G, the same
G you hear on the 3rd fret of the high E string.
- Use a 012 as a D string and tune it to D, the same D as you
hear on the 3rd fret of the B string,
- Use a 016 as A string. Tune it relative to the D string.
- Use a 024 wound string as a bottom E. Tune it relative to
the A. |
069 |
D |
B |
G |
D |
G |
D |
|
Open 'G' Tuning
(2) |
|
070 |
G |
B |
D |
G |
B |
D |
GBDGBD |
Open 'G' Tuning
(3) |
Dobro Tuning
High Bass Tuning |
071 |
G |
Bb |
D |
G |
Bb |
D |
GBbDGBbD |
Open 'Gminor'
Tuning (2) |
|
072 |
G |
C |
D |
G |
C |
E |
GCDGCE |
|
|
073 |
G |
G |
G |
G |
G |
D |
GGGGGD |
|
Roscoe Modal |
074 |
E |
A |
B |
E |
A |
E |
EABEAE |
|
|
075 |
D |
G |
G |
D |
G |
A |
DGGDGA |
|
|
076 |
D |
A |
D |
A |
A |
E |
DADAAE |
|
|
077 |
C |
G |
C |
D |
G |
A |
|
|
A Martin
Carthy Tuning |
078 |
D |
G |
D |
G |
G |
D |
|
|
|
079 |
C |
G |
C |
G |
C |
Eb |
CGCGCEb |
C minor Tuning |
|
080 |
B |
F# |
B |
E |
G# |
C# |
BF#BEG#C# |
Heavy Metal
Tuning |
Drop 'B'
Tuning
Dropped 'B' Tuning |
081 |
D |
D |
D |
D |
D |
D |
DDDDDD |
Velvet
Underground Tuning |
The
strings are tuned in pairs in unison - (i.e. strings 6&5,
4&3, 1&2).
Ostrich Tuning - A variation uses all E's (EEEEEE) |
082 |
E |
Ab |
B |
E |
Ab |
B |
EAbBEAbB |
Jackie Leven
Tuning |
|
083 |
E |
A |
D |
G |
C |
F |
|
Stanley Jordan
Tuning |
Tom Noonan
Tuning
All Fourths |
084 |
D |
G |
C |
F |
A |
D |
|
Ben Harper
Tuning |
D standard tuning |
085 |
F# |
A |
D |
F# |
A |
E |
F#ADF#AE |
|
|
086 |
C |
G |
D |
A |
E |
G |
|
New Standard
Tuning |
As used
by the: California Guitar Trio:
Fripp Tuning
Robert Fripp Tuning
NST |
087 |
D |
A |
D |
A |
D |
E |
|
Robin Williamson
(1) |
RW 1 |
088 |
C |
G |
C |
G |
C |
D |
CGCGCD |
Robin Williamson
(2) |
Same as
(RW 1) (tuning 088) but 1 whole tone down , RW 2.
Modified Orkney Tuning
Martin Carthy Tuning
Open C
Clive Carroll (1)
C2 (Basho) |
089 |
C |
G |
C |
F |
A |
D |
CGCFAD |
|
Drop C |
090 |
D |
A |
D |
G |
C |
D |
DADGCD |
D-Modal Version
1a |
ex Trey
Buchanan (Ill)
Four d'en Haut |
091 |
B |
E |
B |
E |
B |
E |
EEBEBE |
Nick Drake
(1) |
|
092 |
D |
A |
C |
E |
B |
E |
DACEBE |
Sergio 1 |
|
093 |
C |
G |
C |
F |
C |
D |
CGCFCD |
Csus4/9 |
|
094 |
A |
A |
D |
G |
B |
E |
AADGBE |
Dropped 'A'
Tuning |
Drop 'A'
Tuning |
095 |
E |
A |
D |
G |
C |
E |
|
|
|
096 |
C |
A |
D |
G |
C |
E |
|
|
|
097 |
C |
A |
D |
G |
B |
E |
CADGBE |
Dropped 'C'
Tuning |
Drop 'C'
Tuning |
098 |
F |
G |
D |
G |
C |
D |
FGDGCD |
|
Eric Schoenberg
01 |
099 |
Eb |
Ab |
C |
F |
C |
Eb |
EbAbCFCEb |
Hamada Takasi
Ragtime Tuning 1 |
Otarunay
Tuning |
100 |
C |
Ab |
C |
F |
C |
Eb |
CAbCFCEb |
Hamada Takasi
Ragtime Tuning 2 |
|
101 |
E |
F# |
B |
E |
B |
E |
EF#BEBE |
|
|
102 |
E |
B |
E |
G |
A |
D |
EBEGAD |
Peter Finger
Tuning |
|
103 |
D |
G |
D |
G |
A# |
D |
DGDGA#D |
Open 'G minor' |
|
104 |
C |
A |
D |
F |
A |
D |
|
CADFAD |
Open D [minor] (with C bass) |
105 |
E |
G |
C |
G |
C |
E |
EGCGCE |
Open 'C'
(2) |
|
106 |
E |
G# |
C# |
F# |
B |
E |
EG#C#F#BE |
Shifted 'E'
Tuning |
Sinisa Petric
Tuning |
107 |
D |
G |
D |
G |
A |
E |
DGDGAE |
Old Spanish
Tuning |
|
108 |
E |
A |
D |
F# |
A |
E |
EADF#AE |
Lute Tuning
(2) |
|
109 |
A |
D |
A |
D |
A |
D |
ADADAD |
|
Roger Tallroth
Tuning
Carnatic Tuning |
110 |
D |
A |
D |
E |
B |
E |
DADEBE |
|
Wizz Jones
Tuning |
111 |
B |
A |
G |
D |
A |
D |
BAGDAD |
|
A John Renbourn
Tuning
Iraqui Capital Tuning |
112 |
B |
A |
D |
D |
A |
D |
BADDAD |
|
Naughty
Father Tuning |
113 |
C |
C# |
D |
D# |
E |
F |
CC#DD#EF |
|
|
114 |
E |
B |
G |
D |
A |
E |
EBGDAE |
Reverse Standard |
Upside-down Tuning
Upside-down Standard
Lefty Tuning |
115 |
B |
E |
B |
E |
B |
E |
BEBEBE |
Nick Drake
(7) |
A
Nick Drake-ism
Stairs Tuning
Strings 6, 4 and 2 are an octave apart. Strings 5, 3 and
1 are also an octave apart. |
116 |
C |
G |
C |
F |
C |
E |
CGCFCE |
Nick Drake
(3) |
Back
Country Tuning (2)
Open C Alternate |
117 |
B |
B |
D |
G |
B |
E |
BBDGBE |
Nick Drake
(4) |
|
118 |
E |
A |
D |
E |
B |
E |
EADEBE |
Nick Drake (6) |
|
119 |
E |
A |
D |
G |
A |
E |
EADGAE |
Nick Drake
(10) |
|
120 |
A |
A |
D |
E |
B |
E |
AADEBE |
Nick Drake
(11) |
|
121 |
C |
G |
C |
F |
G |
E |
CGCFGE |
Nick Drake
(12) |
|
122 |
D |
A |
D |
G |
D |
F# |
DADGDF# |
Nick Drake (13) |
|
123 |
D |
A |
D |
G |
D |
G |
DADGDG |
Nick Drake
(14) |
|
124 |
D |
A |
D |
G |
A |
G |
DADGAG |
|
Silent
Father Tuning |
125 |
G |
G |
D |
G |
G |
A |
GGDGGA |
Open G Add 9 |
|
126 |
E |
A |
D |
E |
E |
A |
EADEEA |
|
Balalaika
Tuning |
127 |
C |
F |
C |
G |
C |
D |
CFCGCD |
|
Cittern
Tuning (1) |
128 |
C |
G |
C |
G |
C |
G |
CGCGCG |
|
Cittern
Tuning (2) |
129 |
C |
G |
C |
E |
A |
E |
|
|
Charango
Tuning |
130 |
C |
E |
G |
A# |
C |
D |
CEGA#CD |
|
Overtone
Tuning |
131 |
A |
C |
D |
E |
G |
A |
ACDEGA |
|
Pentatonic
Tuning |
132 |
C |
G |
D |
G |
B |
C |
CGDGBC |
|
Admiral
Tuning |
133 |
C |
F |
C |
G |
A# |
F |
CFCGA#F |
|
Buzzard
Tuning |
134 |
D |
A |
C |
G |
C |
E |
DACGCE |
|
Layover
Tuning
Chapman Tuning 1 |
135 |
A |
B |
E |
F# |
A |
D |
ABEF#AD |
|
Hot
Type Tuning |
136 |
C |
F |
C |
G |
A |
E |
CFCGAE |
|
Magic
Farmer Tuning |
137 |
D |
G |
D |
F |
A |
A# |
DGDFAA# |
|
Processional
Tuning |
138 |
D |
G |
D |
F |
C |
D |
DGDFCD |
|
Slow
Motion Tuning |
139 |
C# |
A |
C# |
G# |
A |
E |
C#AC#G#AE |
|
Spirit
Tuning
Will Ackerman Tuning 1 |
140 |
E |
C |
D |
F |
A |
D |
ECDFAD |
|
Toulouse
Tuning |
141 |
F |
A# |
D |
F |
C |
D# |
FA#DFCD# |
|
Simon
Fox Tuning (1) |
142 |
E |
G |
D |
G |
B |
D |
EGDGBD |
|
|
143 |
F |
G |
C |
G |
C |
E |
FGCGCE |
|
Occasionally
written as "FGCGB#E" |
144 |
C |
G |
C |
E |
G |
C |
CGCEGC |
|
David
Crosby Tuning
Open C |
145 |
D |
A |
D |
D |
A |
F# |
DADDAF# |
|
|
146 |
F# |
A |
D |
F# |
A |
D |
F#ADF#AD |
|
Dobro
'D' Tuning |
147 |
B |
E |
B |
E |
G# |
B |
BEBEG#B |
|
Low
'E' Tuning
Low Spanish |
148 |
C |
F |
C |
F |
A |
C |
|
Taropatch |
Albert
King Tuning
Taro Patch Tuning (2)
Spanish Fandango |
149 |
F |
C |
F |
G# |
C |
F |
|
|
Albert
Collins Tuning |
150 |
C# |
A |
C# |
A |
C# |
E |
C#AC#AC#E |
|
|
151 |
D |
G |
D |
G |
B |
C |
DGDGBC |
|
|
152 |
C |
G |
C |
F |
G |
Bb |
CGCFGBb |
|
Sitar
Tuning |
153 |
C |
G |
D |
G |
C |
F |
CGDGCF |
|
Modal
Tuning, Passover Tuning |
154 |
A |
A |
C# |
A |
A |
E |
AAC#AAE |
|
'A'
Unison Tuning |
155 |
A |
E |
C |
A |
C |
E |
AECACE |
|
'A'
Minor Tuning |
156 |
A |
A |
E |
E |
E |
A |
AAEEEA |
|
Drone
Tuning |
157 |
B |
E |
E |
G# |
B |
E |
BEEG#BE |
|
Octave
'E' Tuning |
158 |
B |
F# |
D |
D |
F# |
D |
BF#DDF#D |
|
'B'
Minor Tuning |
159 |
B |
G |
B |
D |
G |
B |
BGBDGB |
|
Low
'G' Tuning |
160 |
C |
G |
C |
G |
Bb |
Eb |
CGCGBbEb |
|
'Cm7'
Tuning |
161 |
C |
G |
D |
D |
A |
E |
CGDDAE |
|
Fifths
Tuning |
162 |
C |
G# |
C |
F |
G# |
F |
CG#CFG#F |
|
'Fm'
Tuning |
163 |
D |
G |
D |
A |
B |
D |
DGDABD |
|
'Gadd9'
Tuning |
164 |
D |
G |
D |
F# |
G |
D |
DGDF#GD |
|
'G'
Modal Tuning |
165 |
D |
A |
D |
F# |
G |
C |
|
|
Harmonic
Tuning |
166 |
D |
A |
E |
F# |
C |
D |
|
|
'D9'
Tuning |
167 |
Eb |
G |
C |
G |
C |
D |
EbGCGCD |
|
'C
minor add 9' Tuning |
168 |
Eb |
G |
Eb |
Bb |
G |
Eb |
EbGEbGEb |
|
Inverted
String 'Eb' Tuning |
169 |
E |
E |
E |
E |
B |
B |
EEEEBB |
|
Unison
Tuning |
170 |
E |
A |
E |
G |
A |
C |
EAEGAC |
|
'Am7'
Tuning |
171 |
E |
B |
D |
G |
A |
D |
EBDGAD |
|
Graham
Nash (1) Tuning |
172 |
E |
B |
E |
F# |
G |
D |
EBEF#GD |
|
'E
minor' Modal Tuning |
173 |
F |
F |
C |
G |
G |
D |
FFCGGD |
|
High
Fifths Tuning |
174 |
F |
G |
C |
D |
C |
D |
FGCDCD |
|
'F'
Modal Tuning |
175 |
C |
G |
C |
G |
A |
E |
CGCGAE |
|
C6
Tuning |
176 |
D |
A |
D |
E |
G |
C |
DADEGC |
|
C6add9
Tuning |
177 |
D |
A |
D |
A |
C |
F |
DADACF |
|
Dm7
Tuning |
178 |
E |
A |
E |
F# |
C# |
E |
EAEF#C#E |
|
A6
Tuning |
179 |
D |
A |
A |
E |
A |
E |
DAAEAE |
|
Dick
Gaughan
Simon Fox Tuning (2)
Tony McManus (1) |
180 |
C |
G |
E |
G |
C |
E |
CGEGCE |
|
Eric
Lugosch Tuning
Big Wreck Tuning |
181 |
F |
A |
D |
G |
B |
E |
FADGBE |
|
Precious
Bryant Tuning
Stairway To Heaven |
182 |
D |
A |
D |
F |
C |
D |
DADFCD |
|
1/2
Circle
Half Circle |
183 |
D |
A |
C |
G |
A |
D |
DACGAD |
|
McLynn
Tuning |
184 |
D |
G |
D |
G |
A |
C |
DGDGAC |
|
Quebec
Tuning |
185 |
D |
G |
D |
F |
Bb |
C |
DGDFBbC |
|
Memor
Tuning |
186 |
C |
G |
D |
E |
A |
D |
CGDEAD |
|
Contest
Tuning |
187 |
G |
C |
E |
G |
C |
E |
GCEGCE |
|
Peg-Leg
Howell 'C' Tuning |
188 |
C |
E |
G |
C |
E |
G |
CEGCEG |
|
Barrel
Tuning |
189 |
C |
E |
G |
A |
C |
E |
CEGACE |
|
C6th
Tuning |
190 |
C# |
E |
G |
A |
C |
E |
C#EGACE |
|
C6th/A7th
Tuning |
191 |
C |
D |
F# |
A |
B |
C |
CDF#ABC |
|
D13th
Tuning |
192 |
C# |
D# |
F# |
A |
C# |
E |
C#D#F#AC#E |
|
B11th
Tuning |
193 |
F# |
A# |
C# |
F# |
A# |
F# |
F#A#C#F#A#F# |
|
Mayfield
Tuning |
194 |
E |
A |
B |
E |
B |
B |
EABEBB |
|
Steve
Baughman (1) Tuning |
195 |
B |
E |
A |
D |
G |
C |
|
|
6-string bass tuning |
196 |
C |
A |
C |
F |
A |
C |
CACFAC |
|
Open F (2) Tuning |
197 |
D |
G |
C |
G |
C |
D |
DGCGCD |
|
Rainsong Tuning |
198 |
E |
B |
D |
F# |
G |
D |
EBDF#GD |
|
E
Minor Modal Tuning |
199 |
B |
F# |
B |
E |
G# |
B |
BF#BEG#B |
|
Isis
Tuning |
200 |
C |
F |
C |
G |
A |
C |
CFCGAC |
|
F
Modal Tuning,
Back Country Tuning
|
201 |
C |
G |
C |
A |
G |
E |
CGCAGE |
|
C6
(2) Tuning |
202 |
C |
C |
C |
G |
C |
E |
CCCGCE |
|
C
(3) Tuning |
203 |
D |
G |
D |
F# |
B |
D |
DGDF#BD |
|
Gmaj7
Tuning |
204 |
D |
A |
E |
F |
C |
E |
DAEFCE |
|
William
Eaton Tuning |
205 |
D |
Bb |
D |
F |
Bb |
D |
DBbDFBbD |
|
Bb
Tuning |
206 |
E |
A |
E |
A |
C# |
D |
EAEAC#D |
|
A
Modal Tuning |
207 |
E |
B |
F# |
G# |
B |
E |
EBF#G#BE |
|
Steve
Vai Tuning |
208 |
F |
C |
D |
A |
C |
F |
FCDACF |
|
F6
Tuning |
209 |
F# |
C# |
F# |
A# |
C# |
F# |
F#C#F#A#C#F# |
|
Slash
Tuning |
210 |
D |
A |
D |
G |
A |
C |
|
|
Compact
Tuning,
'D' Slow Motion Tuning
|
211 |
C |
G |
C |
G |
Bb |
D |
|
|
G
minor C bass Tuning |
212 |
E |
A |
E |
E |
B |
E |
EAEEBE |
|
A
Modal Tuning |
213 |
D |
G |
C |
G |
C |
E |
DGCGCE |
|
Ragtime
Passion Tuning |
214 |
C |
F |
Bb |
Eb |
G |
C |
CFBbEbGC |
|
'C'
Standard Tuning |
215 |
D |
A |
E |
A |
C# |
E |
DAEAC#E |
|
A/D
Tuning |
216 |
E |
G |
C |
G |
C |
D |
EGCGCD |
|
Csus4/E
Tuning |
217 |
F# |
B |
E |
G |
B |
E |
F#BEGBE |
|
Em/F#
Tuning |
218 |
F# |
G |
D |
G |
B |
D |
F#GDGBD |
|
G/F#
Tuning |
219 |
D |
G |
D |
G |
Bb |
F |
DGDGBbF |
|
Open
Gm7 Tuning |
220 |
F |
F |
C |
G |
A |
C |
FFCGAC |
|
Open
F Alternate Tuning |
221 |
D |
C |
G |
D |
G |
D |
|
|
Dominique
Rivière Tuning (1) |
222 |
E |
B |
B |
E |
A |
B |
EBBEAB |
|
Frailing
Tuning |
223 |
B |
G |
D |
A |
D |
G |
BGDGAD |
|
G
Modal Tuning
Chatanooga Tuning |
224 |
C |
F |
C |
G |
G |
C |
CFCGGC |
|
Modal
Master Tuning -
(the second string (a G) is tuned slightly sharp to create a chorusing
effect)
|
225 |
D |
G |
D |
A |
Bb |
F |
DGDABbF |
|
Modal
G Minor Tuning |
226 |
E |
A |
E |
G# |
A |
C# |
EAEG#AC# |
|
Alternate
A Major 7th Tuning |
227 |
F |
Bb |
D |
G |
Bb |
D |
FBbDGBbD |
|
Bb/G
Minor Tuning |
228 |
E |
A |
D |
F# |
A |
D |
|
Open
D9th |
Sweet
Jivin Mama Tuning |
229 |
E |
A |
B |
E |
B |
C# |
|
|
. |
230 |
E |
A |
C# |
G |
B |
D |
EAC#GBD |
A11
Tuning |
|
231 |
D |
A |
D |
A |
B |
C |
DADABC |
|
Graham
Nash 2 Tuning |
232 |
C |
Bb |
D |
G |
A |
E |
CBbDGAE |
C13
Tuning |
|
233 |
B |
E |
A |
E |
G# |
C# |
BEAEG#C# |
|
1/2
Bent 1 Step-Up Tuning |
234 |
F# |
F# |
C# |
G# |
A |
E |
F#F#C#G#AE |
F#m7
Tuning |
The
second F# (5th string) is tuned slightly sharp to obtain a slight
chorusing effect
|
235 |
B |
E |
A |
G |
B |
E |
BEAGBE |
|
7/6
Tuning |
236 |
B |
F# |
C# |
F# |
B |
D |
BF#C#F#BD |
|
Condemned
Tuning |
237 |
C |
G |
C |
G |
Ab |
Eb |
CGCGAbEb |
|
Spooky
Tuning |
238 |
D |
A |
C# |
F |
A |
C# |
DAC#FAC# |
|
Kryptonic
Tuning |
239 |
E |
G |
C |
A |
C |
E |
|
|
C6
Tuning |
240 |
Eb |
Bb |
F |
Bb |
C |
C# |
EbBbFBbCC# |
|
Ambient
Tuning |
241 |
E |
A |
C# |
F# |
B |
E |
EAC#F#BE |
|
|
242 |
E |
A |
B |
G |
B |
E |
EABGBE |
|
Josh
Tuning |
243 |
E |
A |
B |
G |
B |
D |
EABGBD |
|
Josh
Alternative |
244 |
E |
A |
D |
G |
A |
D |
EADGAD |
|
McLachlan
Tuning
Michael Hedges Tuning (5) |
245 |
E |
A |
C |
E |
A |
C |
EACEAC |
|
Accord
Nouveau Alternative |
246 |
E |
A |
D |
F |
A |
C |
EADFAC |
|
Flat
Tuning |
247 |
E |
A |
D |
G |
Bb |
F |
EADGBbF |
|
Swallow
Tuning |
248 |
E |
F# |
B |
E |
A |
D |
EF#BEAD |
|
Turkish
Oud Alternative |
249 |
E |
A |
B |
F# |
B |
D |
|
|
Josh
Alternative |
250 |
E |
G# |
Eb |
G# |
B |
C |
|
|
Melt
Banana Tuning |
251 |
E |
A |
D |
G |
B |
C# |
EADGBC# |
|
We
Never Change |
252 |
E |
A |
D |
F# |
A |
Eb |
EADF#AEb |
|
Sharp
Tuning |
253 |
E |
A |
D |
G# |
B |
E |
EADG#BE |
|
Soft
As Snow |
254 |
E |
A |
D |
G |
Bb |
Eb |
EADGBbEb |
|
Off
Your Face |
255 |
D |
A |
D |
F |
C |
E |
DADFCE |
|
Nick
Drake Tuning (15) |
256 |
D |
Eb |
F |
A |
Bb |
D |
DEbFABbD |
|
Koto
Tuning |
257 |
D |
E |
G |
A |
B |
D |
|
|
Koto
Alternative Tuning |
258 |
D |
A |
D |
E |
A |
C# |
DADEAC# |
|
|
259 |
D |
A |
C |
F |
A |
D |
DACFAD |
|
|
260 |
D |
A |
C# |
E |
A |
E |
DAC#EAE |
|
|
261 |
D |
A |
E |
B |
A |
E |
DAEBAE |
|
Armenian
Oud Tuning |
262 |
D |
A |
E |
B |
F# |
C# |
DAEBF#C# |
|
Armenian
Oud Alternative |
263 |
D |
G |
A |
D |
G |
C |
DGADGC |
|
Egyptian
Oud Tuning |
264 |
D |
A |
C |
E |
A |
D |
|
|
Kora
Reverse Tuning |
265 |
D |
A |
E |
A |
C# |
D |
DAEAC#D |
|
Ambient-type
Tuning |
266 |
D |
A |
D |
A |
B |
D |
DADABD |
|
Stephen
Malkmus Tuning |
267 |
D |
A |
B |
E |
A |
B |
DABEAB |
|
Portugese
Guitarra (1) Tuning |
268 |
D |
A |
B |
E |
A |
D |
DABEAD |
|
Portugese
Guitarra (2) Tuning |
269 |
D |
G |
C# |
F# |
B |
E |
DGC#F#BE |
|
Laud
Alternative Tuning |
270 |
D |
Bb |
C |
F |
A |
D |
DBbCFAD |
|
Cuba Tuning
Cibao Alternative |
271 |
D |
G |
C |
E |
A |
D |
DGCEAD |
|
New
Lute Tuning |
272 |
D |
A |
C |
G |
C |
F |
|
|
Winter
Funk Tuning
Dm11 Tuning |
273 |
D |
A |
A |
F# |
A |
E |
DAAF#AE |
|
Big
Tuning
Dadd9 Tuning |
274 |
D |
A |
D |
E |
C |
D |
DADECD |
|
Blue
Vertigo Tuning |
275 |
D |
F |
B |
G |
D |
E |
DFBGDE |
|
Virch
Tuning |
276 |
D |
A |
D |
C# |
A |
C# |
DADC#AC# |
|
|
277 |
D |
A |
C# |
E |
B |
C# |
DAC#EBC# |
|
Peppino
D'Agostino Tuning |
278 |
C |
G |
C |
F |
C |
F |
|
|
Nick
Drake Tuning (16) |
279 |
C |
G |
E |
G |
A |
E |
CGEGAE |
|
|
280 |
C |
A |
C |
G |
C |
E |
CACGCE |
|
Goo
Goo Dolls Tuning
Bron-Yr-Aur |
281 |
C |
G |
D |
F |
C |
E |
CGDFCE |
|
Joni
Mitchell (2) Tuning
Sisotowbell Lane |
282 |
C |
G |
C |
G |
B |
C |
CGCGBC |
|
Beau
Tuning |
283 |
C |
G |
Eb |
G |
C |
E |
CGEbGCE |
|
Cheb
Minor Tuning |
284 |
C |
F |
C |
F |
A |
F |
CFCFAF |
|
Bron
Y Aur Stomp Tuning |
285 |
C |
G |
D |
G |
B |
B |
CGDGBB |
|
Pavement
Tuning |
286 |
C |
A |
D |
G |
A |
D |
|
|
C6/9no3rd
Tuning
'CADGAD' Tuning |
287 |
C |
G |
D |
A |
A |
C |
CGDAAC |
|
Zither
Melody Tuning |
288 |
C |
E |
B |
E |
B |
C |
CEBEBC |
|
Oddity
Tuning |
289 |
C |
G |
C |
Eb |
B |
C |
CGCEbBC |
|
Luna
Tuning |
290 |
C |
A |
C |
G |
G# |
C |
CACGG#C |
|
Thurston
Jag Alternative Tuning |
291 |
F |
A |
D |
A |
D |
E |
FADADE |
|
Swervedriver
Tuning |
292 |
F |
A |
C |
G |
C |
C |
FACGCC |
|
|
293 |
F |
A |
Eb |
G |
C |
E |
FAEbGCE |
|
F9
Tuning |
294 |
F |
Bb |
D |
F |
G# |
C |
FBbDFG#C |
|
|
295 |
F |
A |
D |
D |
G |
D |
FADDGD |
|
The
Edge Tuning |
296 |
F |
Bb |
C |
F |
A |
D |
FBbCFAD |
|
Keola
Beamer Tuning |
297 |
F |
C |
D |
G |
C |
F |
FCDGCF |
|
Iraqi
Oud Alternative Tuning |
298 |
F |
A |
D |
G |
C |
F |
|
|
Mid-Eastern
Oud Tuning |
299 |
F |
G |
C |
F |
A |
D |
FGCFAD |
|
Argentinian
Tiple Tuning |
300 |
F |
A |
C |
G |
C |
E |
FACGCE |
|
Poetic
Tuning
Fmaj9 Tuning
Don Ross (1) |
301 |
D |
Bb |
D |
G |
A |
D |
DBbDGAD |
|
Michael
Hedges Tuning (4) |
302 |
C# |
E |
G |
Bb |
C |
D |
C#EGBbCD |
Leavitt |
|
303 |
B |
D |
E |
G# |
B |
E |
BDEG#BE |
E7th |
|
304 |
A |
C# |
E |
A |
C# |
E |
AC#EAC#E |
|
Old-time
Hawaiian Tuning |
305 |
G |
G |
C |
G |
C |
E |
GGCGCE |
|
|
306 |
B |
F# |
B |
B |
F# |
B |
BF#BBF#B |
|
Joni Mitchell
(1) Tuning |
307 |
A |
A |
D |
G |
A |
D |
AADGAD |
|
Ani DeFranco
(1) Tuning |
308 |
E |
E |
B |
A |
B |
D |
EEBABD |
|
Ani DeFranco
(2) Tuning |
309 |
E |
A |
E |
A |
B |
E |
|
|
Zimmerman Tuning |
310 |
E |
A |
G# |
F# |
A# |
D# |
EAG#F#A#D# |
|
Moon Tuning |
311 |
E |
G# |
B |
F# |
A# |
D# |
EG#BF#A#D# |
|
Toe Tuning |
312 |
C |
G |
Eb |
G |
C |
Eb |
CGEbGCEb |
|
H. Aoki Tuning
(1) |
313 |
F# |
A |
D |
A |
D |
F# |
F#ADADF# |
|
D (3) Tuning |
314 |
E |
B |
E |
E |
G# |
E |
EBEEG#E |
|
E (3) Tuning |
315 |
D |
B |
D |
F# |
G |
D |
DBDF#GD |
|
G Modal (2) Tuning |
316 |
C |
A |
C |
G |
A |
F |
CACGAF |
|
Open Ended Tuning |
317 |
Bb |
Bb |
D |
F |
G |
D |
BbBbDFGD |
|
B6th. The 6th
and 5th strings are an octave apart. |
318 |
B |
F# |
B |
F# |
C# |
D |
BF#BF#C#D |
|
Bm9 Tuning |
319 |
G |
D |
G |
D |
A |
D |
GDGDAD |
|
|
320 |
A |
E |
A |
E |
B |
E |
AEAEBE |
|
|
321 |
D |
G |
D |
A |
E |
D |
DGDAED |
|
|
322 |
E |
Ab |
C |
E |
Ab |
C |
EAbCEAbC |
Major
Thirds
Tuning |
Major Third Tuning
3rd Tuning |
323 |
D |
C |
D |
G |
A |
D |
DCDGAD |
Mick
Nolan Tuning |
|
324 |
C |
G |
D |
G |
A |
C |
|
Clive
Carrol Tuning (2) |
|
325 |
D |
A |
D |
F# |
A |
G |
DADF#AG |
Ray
Norris Tuning |
|
326 |
E |
G |
B |
D# |
F# |
A# |
EGBD#F#A# |
Viana Tuning |
|
327 |
A |
G |
D |
F |
A |
D |
AGDFAD |
Bomb
Tuning |
|
328 |
D |
A |
D |
A |
C |
D |
DADACD |
Special
D |
Frank J. Norbert
Tuning |
329 |
E |
A |
C |
G |
A |
E |
EACGAE |
Phil
Hare
Tuning (1) |
Phil Hare 1 |
330 |
F |
A# |
G |
D |
A |
G |
FA#GDAG |
Cassiano Viana Tuning
(1) |
|
331 |
E |
A |
B |
E |
B |
E |
EABEBE |
Cassiano Viana Tuning
(2) |
Flood Tuning
Jars of Clay Tuning |
332 |
D |
A |
D |
D |
D |
D |
DADDDD |
Off The Wall |
|
333 |
C |
G |
C |
F |
G |
C |
CGCFGC |
Unraveling |
A variation of
DADGAD |
334 |
B |
F# |
B |
E |
F# |
B |
BF#BEF#B |
|
A variation of
DADGAD |
335 |
A# |
F |
A# |
D# |
F |
A# |
A#FA#D#FA# |
|
A variation of
DADGAD |
336 |
C |
G |
D |
A |
E |
B |
CGDAEB |
All Fifths |
Requires
a specially built acoustic guitar to handle the high tension of
the first string |
337 |
F |
C |
G |
D |
A |
E |
|
All
Fifths 2 |
|
338 |
C |
G |
D |
A |
B |
E |
|
Cello |
|
339 |
B |
F# |
B |
G |
B |
E |
|
Karnivool |
Themata Tuning |
340 |
E |
A |
d |
G |
B |
E |
EAdGBE |
Mi-composé |
Mi-composé -
used in Rhythm and in African guitar.
Similar to the standard guitar tuning, except that the 'd' string
is raised an entire
octave. This is accomplished by replacing the 'd' string with
a top 'e' string and
tuning it to 'd'. |
341 |
D |
A |
D |
G |
B |
F |
DADGBF |
Love Buzz |
Cockbain Tuning |
342 |
B |
D |
D |
D |
D |
D |
|
Iris |
The 6th string
is tuned to a B, the 5th to a low D (as if it were the bottom
string of
a Drop D tuning), the 4th string is kept the same as in standard,
the 3rd string is
down-tuned to the same note, the 2nd tuned up to a high D, and
the top string tuned
down to a D. |
343 |
E |
F# |
C# |
E |
B |
C# |
EF#C#EBC# |
|
Roast Beef Tuning
Will Ackerman Tuning 2 |
344 |
G |
A |
C# |
G |
A |
F |
|
|
Cassiano
Pereira Viana Tuning |
345 |
F |
A |
D |
G |
Bb |
E |
|
|
Goertzen Tuning |
346 |
E |
A |
D |
A |
C# |
F |
|
Continual |
Continual Tuning |
347 |
D |
A |
D |
F# |
A |
E |
DADF#AE |
|
Luth Tuning |
348 |
C |
F |
C |
F |
A |
D |
CFCFAD |
|
|
349 |
E |
B |
F# |
D |
B |
F# |
EBF#DBF# |
Spider |
|
350 |
F |
E |
C |
A |
F |
F |
FECAFF |
|
|
351 |
C# |
G# |
C# |
G# |
C# |
F |
C#G#C#G#C#F |
Foxglove |
|
352 |
D |
A |
G |
D |
A |
D |
DAGDAD |
|
|
353 |
D |
A |
D |
E |
A |
B |
DADEAB |
|
An alteration
of a Martin Carthy tuning by Phil Hare (See Tuning 078). |
354 |
Bb |
F |
C |
G |
A |
E |
BbFCGAE |
|
Phil Hare 2 |
355 |
Eb |
Bb |
Eb |
G |
A |
D |
EbBbEbGAD |
|
Ken Bonfield
Tuning 1. |
356 |
D |
G |
D |
G |
C |
F |
DGDGCF |
|
Duck Baker 1 |
366 |
D |
A |
D |
G |
C |
F |
DADGCF |
|
Duck Baker 2 |
367 |
Eb |
A |
D |
G |
B |
E |
EbADGBE |
|
Duck Baker 3 |
368 |
F |
G |
D |
G |
B |
E |
FGDGBE |
|
Duck Baker 4 |
369 |
E |
A |
D |
E |
A |
D |
EADEAD |
|
|
370 |
E |
A |
Db |
E |
A |
Db |
EADbEADb |
Dockery
Farm |
Akira Kikuchi |
371 |
F |
Bb |
C |
F |
Bb |
D |
FBbCFBbD |
|
|
372 |
E |
G# |
B |
F# |
B |
D# |
EG#BF#BD# |
|
Phil Hare 3 |
373 |
E |
A |
D |
F# |
B |
E |
EADF#BE |
|
Alto Viola de Gambo Tuning |
374 |
C |
F |
C |
G |
C |
E |
CFCGCE |
F Wahine |
F Maj 7th |
375 |
E |
B |
E |
C# |
G# |
C# |
EBEC#G#C# |
Barnard |
|
376 |
F |
A |
C |
G |
A |
E |
FACGAE |
|
|
377 |
A |
B |
C |
D |
E |
F |
ABCDEF |
Alphabetic Tuning |
Alphabetical Tuning
Ichico Nito
|
378 |
B |
C |
D |
E |
F |
G |
BCDEFG |
|
|
379 |
G |
D |
G |
D |
G |
D |
GDGDGD |
|
|
380 |
F |
E |
D |
C |
B |
A |
FEDCBA |
|
|
381 |
F |
A |
G |
B |
A |
G |
FAGBAG |
|
|
382 |
G |
G |
C |
D |
E |
A |
GGCDEA |
|
|
383 |
D |
A |
E |
G |
B |
D |
DAEGBD |
|
|
384 |
G |
C |
D |
G |
C |
G |
GCDGCG |
|
|
385 |
Bb |
F |
C |
G |
C |
C |
BbFCGCC |
|
|
386 |
B |
F# |
B |
G |
B |
E |
BF#BGBE |
|
|
387 |
B |
A |
D |
G |
B |
E |
BADGBE |
|
|
388 |
D |
A |
Db |
Gb |
Db |
D |
DADbGbDbD |
|
Ethereal |
389 |
C |
F# |
C |
F# |
C |
F# |
CF#CF#CF# |
Tritone |
|
A |
C |
A |
B |
A |
G |
E |
CABAGE |
|
Cabbage |
391 |
D |
A |
D |
F |
A |
E |
|
|
Dmin(add9) |
392 |
A |
E |
A |
C |
E |
A |
AEACEA |
Night |
Austin-Ray-1
Baritone
Open A-min |
393 |
A |
E |
A |
C# |
E |
A |
AEAC#EA |
Day |
Austin-Ray-2 |
394 |
Bb |
F |
Bb |
F |
Bb |
C |
BbFBbFBbC |
Nic Jones 1 |
Can-A-Dee-Io |
395 |
C |
G |
C |
D |
G |
D |
CGCDGD |
|
A Martin Carthy Tuning |
396 |
E |
B |
B |
F# |
B |
E |
EBBF#BE |
|
Modified Reynardine
Altered Reynardine |
397 |
C |
C |
D# |
G |
A# |
D |
CCD#GA#D |
|
|
398 |
C# |
G# |
E |
B |
G# |
C# |
C#G#EBG#C# |
|
|
399 |
G# |
G# |
C |
D# |
A# |
C |
G#G#CD#A#C |
|
|
400 |
G |
G |
D |
G |
G |
D |
GGDGGD |
|
Roscoe Holcombe |
401 |
D |
A |
D |
D |
A |
E |
DADDAE |
Harvey |
Daddae Harvey
Daddae |
402 |
D |
A |
E |
G |
A |
D |
DAEGAD |
|
Joni Mitchell 3 |
403 |
C# |
G# |
D# |
F# |
G# |
C# |
C#G#D#F#G#C# |
|
Joni Mitchell 4 |
404 |
B |
F# |
B |
E |
A |
E |
BF#BEAE |
|
Joni Mitchell 5 |
405 |
D |
A |
E |
F# |
A |
D |
DAEF#AD |
|
Joni Mitchell 6 |
406 |
C |
G |
D |
E |
G |
C |
CGDEGC |
|
Joni Mitchell 7 |
407 |
B |
F# |
C# |
E |
F# |
B |
BF#C#EF#B |
|
Joni Mitchell 8
Hejira |
408 |
D |
A |
D |
F# |
G |
D |
DADF#GD |
|
Adrianne Lenker-2 |
409 |
D |
G |
D |
F# |
G |
G |
DGDF#GG |
|
Adrianne Lenker-3
Myth |
410 |
C# |
G# |
C# |
F# |
A# |
C# |
C#G#C#F#A#C# |
|
Adrianne Lenker-4
(DADGBD Equivalent)
|
411 |
A |
D |
G |
C |
E |
A |
ADGCEA |
|
Frank Gambale-1 |
412 |
F |
C |
Eb |
Ab |
C |
Eb |
FCEbAbCEb |
|
WIll Akerman 1
Fm7 Tuning
I Had To Go There |
413 |
Eb |
Ab |
Eb |
Ab |
B |
Eb |
EbAbEbAbBEb |
|
|
414 |
E |
A |
E |
G |
B |
E |
EAEGBE |
|
|
415 |
B |
E |
A |
D |
F# |
B |
BEADF#B |
|
|
416 |
C |
G |
D |
G |
A |
E |
CGDGAE |
|
|
417 |
G |
D |
G |
D |
Bb |
D |
GDGDBbD |
|
|
418 |
D |
G |
D |
G |
G |
D |
DGDGGD |
Blueridge |
|
419 |
E |
C# |
A |
E |
C# |
A |
EC#AEC#A |
|
|
420 |
E |
B |
E |
B |
E |
E |
EBEBEE |
|
Higher Double Father
Open E (2) |
421 |
D |
G |
D |
D |
G |
D |
DGDDGD |
Fretdancer |
|
422 |
|
|
|
|
|
|
|
|
|
|
[Home] -- [T'n'T]
-- [Players in NW] -- [Tunings]
-- [My Tabs] -- [Friends'
Tabs] -- [More Tabs] -- [Duet
Tabs]
NOTES
ON VARIOUS TUNINGS
1. Most Used Tunings ? - The most commonly
used tunings are the first three in the list, Standard Tuning, Dropped
'D' Tuning (or Low D Tuning) and Dropped 'G' Tuning (occasionally called
Double Dropped D Tuning). Following this the major 'favourites' seem
to be Open 'G' Tuning, Open 'D' Tuning, Open 'C' Tuning and DADGAD Tuning.
Some players use only one of the others and do not experiment any further.
Some players, notably Classical guitar players, stick solely with Standard
Tuning. However, by far the majority of players use a small few for
most of their playing and occasionally experiment with something a little
more outlandish. The main point is to try a couple; see if you can get
along with them and if they can enhance your music; most of all have
FUN with them.
2. Hi-Note or Hi-String Tuning: - (also known as
Nashville Tuning) uses the notes EADGBE which looks as though
it is the same as Standard Tuning. Do not be fooled, it is not the same!
The reason is that the bass strings are removed from the guitar and
are replaced with another set of treble strings which are then tuned
to the relative notes. Consequently a much higher sound is produced
which has a greater tendency to cut through when other instruments are
being played as part of a band. Be careful however, as not all finger-picked
tunes which sound well on a normally strung guitar will sound well with
this string arrangement; some do and some don't - you'll have to try
them and make the decision yourself. The tuning is most often used in
'Country & Western' music but it does have other possibilities,
which need investigating, for both solo/instrumental work and also for
providing a contrasting backing accompaniment for a low pitched singing
voice. This restringing of a guitar and replacing one or more bass strings
with higher, thinner treble strings is called re-entrant stringing and
nearly all of the tunings in the above table can be applied when they
will be called re-entrant tunings as the bass strings will now be higher
than some of the mid/treble strings.
Nashville tuning is a little more involved than just tuning
your guitar differently. It's also known as high-stringing a guitar
because different strings need to be used. It creates a 12 string effect
on a 6 string guitar. The simplest way to explain it is, you use the
high octave strings of a 12 string set of strings on a six-string guitar.
The first two strings of your instrument (high E and B) remain unchanged,
and the lower four strings (G through low E) are tuned an octave above
standard tuning. It is possible to buy ready-made string sets for Nashville
tuning but they may be hard to find. You can use a 12-string set (just
use the octave or thin strings) but that's kind of expensive. The best
way for you may be to buy the strings individually from your local music
store's single-string bin.
The gauges for a medium set would be .012, .016, .010,
.014, .020, .030 high to low.
A light set would be .010, .014, .009, .012, .018, .027 high to low.
All strings are unwound except for the low E which is wound.
How to get into Nashville Tuning: - Here's how you do
it :-
Leave the high E and B strings alone, they stay the same.
Use a 009 or 010 as a G string and tune it up to G, the
same G you hear on the 3rd fret of the high E string.
Use a 012 as a D string and tune it to D, the same D as
you hear on the 3rd fret of the B string,
Use a 016 as A string. Tune it relative to the D string.
Use a 024 wound string as a bottom E. Tune it relative
to the A.
Now you have a guitar that's tuned EADGBE as normal, but
you'll hear all kinds of nice doubling up of notes emerging. The hardest
part is convincing your fingers that you can still play as normal, especially
when you hit that really high G string.
3. Tuning Your Guitar: - The most accurate
method of tuning available today (2001) is via one of the portable battery
operated tuning machines distributed by companies such as Boss, Sony,
Yamaha, etc. All of the better models have a jack-socket input so that
they can be placed between the guitar and the amplifier for electric
and electro-acoustic guitars. This has made tuning on stage very simple
and direct and is not troubled by sounds from other instruments in the
band or from people in the audience. A new idea has recently appeared
for those with purely acoustic (i.e. un-amplified guitars) and this
is a small clip-on microphone which clips to the edge of the sound-hole
of the guitar, or even to the headstock, and then plugs into the jack-socket
of the tuner. Again, this is said to allow an acoustic guitar to be
tuned accurately even while other people are playing and/or singing
- this is a definite advantage as trying to tune a guitar by ear in
a room full of people playing is something I find impossible - I normally
have to go and tune in the loo. Some people find they can tune by ear
in a noisy environment by placing the ear against the side of the guitar,
not for me I'm afraid. Give me a decent tuner any day of the week!
A
newer form of an electronic tuner (as at 2008) is the 'vibration' or 'headstock'
tuner. This clips to the headstock of your instrument and instead of having a
microphone it picks up the vibration of the string through the neck and headstock
of your guitar. They seem to work well, are relatively cheap (£20.00) and
have the advantage of working in noisy environments. They also light the note
display area making them excellent for on stage tuning. A good example is the
Intelli IMT-900 Clip-on Chromatic Tuner. Crafter also produce a decent one at
£14 - the TG-200H. Both the IMT-900 and the TG-200H are Chromatic Tuners.
A
tuner will most definitely simplify changing to some of these altered tunings,
particularly when you are under pressure in a performance either on stage or even
in front of your friends and relatives. At all these times you will often find
that your 'ear' goes and you cannot even decide whether the note you need is higher
or lower than the note you are starting with. The machine does not get nervous
and will give you the correct answer every time no matter what the pressures.
There is no great 'macho-ness' involved in being able to tune by ear. In fact
even the best of the people who do so are usually still slightly out when they
have finished and are rarely in 'concert pitch' - (the standard for tuning for
all orchestral instruments (A=440Hz)). Surely the most important thing, as far
as your audience is concerned, is that your instrument is in tune - no matter
how good a picker you become you will still sound dreadful if your instrument
is not in tune. This becomes even more important if you want to play along with
other people; then you must all be in tune together. Invest in a machine; it is
well worth it!
4. If you know of any other tunings
please do e-mail me and let me know about them. I can then add them to the list
above. E-mail me at:
.
5.
See also, the Wikipedia article on guitar tunings over at: en.wikipedia.org/wiki/List_of_guitar_tunings
6. Open Tunings - are those tunings where the strings on the guitar are specifically
tuned to notes which when played unfretted will produce a recognisable chord (e.g.
Open 'G' produces a chord of 'G' (now there is a surprise) when it is strummed
without any strings being fretted; likewise Open 'D' produces a chord of 'D' and
Open 'A' produces a chord of 'A').
7. Altered Tunings (occasionally called Amended Tunings or Extended Tunings, or even Enhanced
Tunings) - are those tunings where the strings are tuned to notes other than those
in Standard Tuning (EADGBE - 6th to 1st string (thickest to thinnest)) but which
do NOT play a chord when they are strummed unfretted (e.g DADGAD).
Many thanks. Hope you enjoyed dropping in. Cheers, take care and keep on pluckin'.
Chord Shapes
for Stringed Instruments
TablEdit
- The BEST Tablature Software for Windows and Mac Machines
: TablEdit Tutorials
: TablEdit - Create Publisher Quality Scores
: TablEdit.com Online
Tutorial
Tape 'n' Tab Club and Social Media:
The Tape 'n' Tab Club (TnT) and its members can be found on various social media sites - see below:
Instagram:
https://www.instagram.com/guitartabtapentabclub
TikTok:
https://www.tiktok.com/@tapentabclub?lang=en
Twitter:
https://twitter.com/tapentabclub
Reddit:
https://www.reddit.com/user/TapenTabClub
Facebook and LinkedIn also have 'tapentabclub' pages too.
Pull down the navigation
menu by clicking on the down-arrow below.
Choose the page you wish to go to, and then click
on the "Go To" button - Thank you.
© Consult-Eco - 1998-2023
- All rights reserved WebMaster: Steve
J. McWilliam Rev. 5.39 Change-Date: 10/05/2023 For
assistance with Acoustic Guitar, Transcription, Ragtime or Acoustic Blues, Entomology, Education, Invertebrates,
Surveying, Local Record Centres or Web Design/Construction please contact Steve J. McWilliam at:-
|