Standard guitar tuning. Names of guitar strings. Modal scale G Modal G - DGCGCD

Many guitarists wonder which strings are best suited to their tuning. When choosing, it is worth remembering that preferences for tension and string diameter are a very individual thing. It is for this reason that you should not take the information from this material as an absolute truth: we will provide the most generalized and averaged data, according to which you can choose the optimal thickness of the set to suit your preferences.

For ease of reading the article, we will use whole string thickness designations (for example, 9-42 instead of 0.009-0.042).

Factors influencing the choice of string thickness

• Guitar scale: the longer it is, the tighter the strings will be, all other things being equal. In the table below we will be using the standard 25.5" scale. If you have a guitar with a smaller scale, then you will need to make a slight adjustment and go with a thicker set.
• String tension: The higher their tension, the thicker the strings - accordingly, they have a more powerful and voluminous sound. However, on the other hand, thicker strings have a smaller vibration amplitude, which is why their sound is not as rich in overtones, it is duller and flatter - this is especially audible on thin strings without winding.
• Third string: in most sets this is not wound (plain). In sets with a first string thickness of 12 or more, the third string is usually wrapped. IN in this case It’s worth considering that braiding increases tension - you’ll have to forget about bending by one and a half to two tones, although, on the other hand, in lowered tunings The third wound string sounds much fuller and richer.
• Today you can buy guitar strings in balanced sets (8-38, 9-42, 10-46, 11-50, 12-54, 13-56, etc.) and unbalanced(9-46, 10-52, 11-52, 12-56/60, etc.)

The former are usually used for standard tuning or a tuning lowered across all strings by an equal number of semitones. The second type is ideal for lovers of drop tunings (the 6th string is lowered by whole tone), as well as for those who use hybrid and open guitar tunings.

• The thickest sets of strings (12-60, 13-72, etc.) are best suited for long-scale guitars - baritones. They have a scale length of 26 inches or more, and are used in very low tunings (for example, Standard A and below).

In principle, such kits can also be used for instruments with a standard scale for deeply lowered action, however, before purchasing, you should consider a couple of nuances:

• You may simply not have enough scale adjustment options at the bridge, since lower tuning requires retuning. In this case, either replacing the bridge or switching to a thinner set will help.
• If you use a thicker set, you will either bore out the string grooves on the nut or simply won't be able to fit the strings into them. When switching back to thinner strings, they will hang around in the counterbore grooves, making it difficult to fine-tune the guitar.

In addition, thick strings may not fit into the peg - it will also have to be bored.

Which strings are suitable for a particular tuning?

Helpful tip: If you want to tune your guitar to B Standard or lower, consider buying a baritone or 7-string guitar - you need to understand that not all types of 6-string electric guitars are designed for experimenting with strong detuning.

Let us repeat that these recommendations are conditional and partly subjective. Suffice it to remember the great SRV, which used the 13-56 kit for the Standard Eb build: therefore, the most important thing is your feelings. Try several different sets, experiment - and you will certainly find the optimal set for your music!

Based on materials from an article by Egor Kalgannikov, 12.2013.

Interesting topic. It seemed to me that on the Internet it was somehow not covered from the side that I would like (but maybe not only me?). Increased attention is paid to the actual pitch: I read on the wiki that the standard tuning is lowered by 0.5, 1, 1.5, 2, and 2.5 tones, raised by 0.5 and 1 tone, etc. What interests me is not the actual pitch of the sound, but the tuning, i.e. the relationship of string tuning to each other, and most importantly, what can be learned from this, in the context of a classical (or “near-classical”) guitar.

So, the usual tuning is E-A-D-G-B-E (strings 6 => 1). Allows you to at least play in the keys: C major, D major, E major, G major, A major, D minor, E minor, A minor, B minor. Particularly convenient:

• A minor and A major (open basses of all major harmonic functions I, IV, V);


• E minor, G major, C major, D major, D minor (just a lot of open strings and bass).

Drop sixth tuning: D-A-D-G-B-E (strings 6 => 1). Used almost exclusively to play in D major and D minor, because an open powerful tonic bass appears.

OPEN-G build: D-G-D-G-B-D (strings 6 => 1). It is used, as far as I understand, mainly for the convenience of accompaniment. The OPEN-G tuning actually corresponds to this form of a major triad (regular tuning):

This is where the popular systems end...

In Matteo Carcassi, at the very end of his School, we have five pieces with the “E major” tuning E-B-E- -B-E (strings 6 => 1), which actually corresponds to this form of a major triad (regular tuning):

The new system inspires new musical thoughts. Changing tunings will allow you to use voicings and transitions between chord forms that would not normally be possible. The new tuning will make non-standard open strings available. Playing familiar fingerings on an unfamiliar fretboard is exciting - you never know exactly what to expect. Using familiar riffs on an unfamiliar fretboard often leads to new sound patterns and variations. This book will help you find alternative ways to make music.

Why is the standard guitar tuning standard? Where did this strange combination of a major third and four perfect fourths come from? It's part history (look at the guitar as a descendant of the lute), part technology (strings that are too high and thin tend to break, and those that are too low tend to be too soft) and part chance. However, the standard is the standard, and almost everyone who plays guitar knows the EBGDAE tuning. It turns out that only some folk musicians use different tunings, who do it only because they don’t play well enough?

Well, maybe Leo Kottke knows what he's doing, and maybe Wm. Ackerman and Michael Hedges are good, and it's possible that Adrian Belew is talented... But playing with changing tunings is impossible on stage, retuning is a nightmare... strings break, float and go out of tune, the neck is deformed. And the alternative - transporting five special guitars for five tunings - is extremely inconvenient. Back to EBGDAE.

But all these “practical” reasons pale against the background of psychological inertia. "I spent years mastering one tuning, why should I try others?" Because there are whole musical worlds, waiting to be used. Once you've tuned in and explored the single extra tuning, you'll be captivated by unexpected fingerings, simple basses, "new" open-string chords. New tunings are a way to recapture the wonder you once felt when finding your way onto the fretboard - but now you can become proficient in days rather than years!

And the "practical" reasons become less compelling with the introduction of guitar MIDI controllers, which actually allow guitarists to do much more than just play like a synthesizer. With the press of a button, you can change the tuning of all six strings - no dirty-sounding or broken strings, no extra guitars. And changing the tuning itself is no longer limited by the mechanics of string thickness and fingerboard load. How about a six bass string setup? A tuning that spans six octaves? String configurations that were impossible with wood and guttural strings can now be realized through the magic of MIDI.

The book shows you how to dip your guitar into all the popular alternative tunings, how to strum barre and open-string chords in them, includes scale diagrams and pictures of the notes on the fretboard. Each setting is briefly discussed, exploring its benefits and limitations, helping you with your music studies. The book is divided into four large sections, corresponding to the four main types of alternative tunings: open, instrumental, systematic, and "special" tunings.

In open tuning, all six strings are tuned to form a simple chord. This makes it easier to use unusual transitions and interesting harmonies using resonances and “seasoned” strings. Slide guitar techniques and harmonics are great in open tuning because you can play full six-note chords. And you can play barre chords with one finger!

Instrumental tunings are based on the tunings of modern and historical instruments, such as mandolin (extended for six strings), charango, zither, oud and many others. Players of these instruments will find tuning and chord charts helpful, and guitarists will find some really great ways to change the sound of their instrument.

IN systematic system the strings are tuned uniformly. This allows the chord shapes to move up and down the strings, similar to a regular barre chord moving along the fretboard. Learn a handful of chord forms in a systematic tuning and you'll know hundreds of chords!

Special tunings - collection different systems, most of which were created and/or popularized in last years various singers and songwriters.

Explore these alternative musical universes with this study guide, complete with handy chord diagrams and scale charts. Don't wait... rebuild your guitar now.

Open formations in general

When open strings form a simple chord, the tuning is called open; the "open C" tuning builds a C major chord, the "open G" tuning builds a G major chord, etc. This certainly makes it easier to play in a "natural" tuning key. But limiting playing to just a few keys would be a mistake, since most open tunings are versatile enough to play in many keys.

One of the most common uses open formation- the sound of open strings as a background or ostinato. This is an easy way to create unusual chord progressions and interesting continuous harmonies. When the harmonic movement is in the treble, the lower strings tend to be used as an ostinato, and vice versa.

Open tunings are ideal for using slide guitar techniques, as you can place a slide on any fret and play a full six-note chord. Likewise, harmonics are wonderful in open tuning. You can play all six harmonics at once on the 12th, 7th and 5th frets.

Many of the open tunings are highly coupled - they may differ by only one step on one string. For example, "Modal D" - "Open D" - "D Minor" or "Modal G" - "Open G" - "G Minor". The "G" tunings mentioned only differ on the second string. Consequently, chord fingerings can often "overlap", for example, a C major chord will be played with the same fingers in all three tunings (although it will not be completely identical).

Open C - C G C G C E (strings 6 => 1)

"Open C" is a deep, rich tuning that will allow you to play in many styles and keys. "Townsend Shuffle" by William Ackerman and "Requiem for Mississippi John Hurt" by John Fahey give general idea about the versatility and spaciousness of the "Open C" setting.

Three C strings and two G strings can be used to provide numerous chord variations with these notes.

Open D - D A D A D (strings 6 => 1)

The three bass strings can be used for power chords, as well as sustained ostinato sounds against the background (on thinner strings) of changing harmonies. Almost every chord type has a simple barre variation: major, minor, dominant seventh (7), sus4, 7sus4, major and minor with sixth (6). This makes "Open D" versatile and allows you to play in a variety of styles and keys. Two famous tunes in "Open D": "Big Yellow Taxi" by Joni Mitchel and "Little Martha" by Allman Brother.

Common variations of "Open D" are settings one tone higher or lower:
E B E B E (strings 6 => 1) (this is the Carcassi tuning mentioned above)
C G C E G D (strings 6 => 1)

As in many open formations, in "Open D" the numerous D and A strings can be used to make many variations of chords with these notes.

Modal D - D A D G A D (strings 6 => 1)

The open stuns of the "Modal D" tuning make up a wonderful Dsus4 chord that is neither major nor minor due to the lack of a third. Of course, it is possible to play in both major and minor keys.

This tuning is very close to "Open D" and differs only in the third string. Therefore, "Open D" chords can be used with minimal changes to the "Modal D" tuning, and vice versa.

Open D Minor - D A D F A D (strings 6 => 1)

The "Open D Minor" tuning shares five strings with "Open D", "Modal D", and "Pelican" (D A D E A D), differing only in the third string. As with all of these tunings, "Open D Minor" has three D strings and two A strings, resulting in a wide variety of simple chords with these notes.

Open G - D G D G B D (strings 6 => 1)

In "Open G" tuning, the strings are tuned like a G major chord, making it easier to play in the key of G and related keys. Although this tuning is often used in "folk" music, Jimmy Page's "Bron-Y-Aur Stomp" shows that it is more a matter of tradition than necessity.

The four thick strings match the banjo's tuning, so banjo players will find it makes life easier. Likewise, if you like "Open G", why not try the banjo?

The second, third and fourth strings are tuned exactly as in standard setting E A D G B E (strings 6 => 1). All chords on these three strings remain the same, making "Open G" one of the simplest alternative settings, in which you can play.

As with any open tuning, multiple D and G strings can be used to create new ways to play simple chords. Note that the "Open G" tuning is similar to the "Open G Minor" and "Modal G" tunings, meaning the chord shapes of these tunings can be used mutually with minor modifications.

The "Open G" tuning is very close to the Russian seven-string guitar. In fact, it is a Russian seven-string guitar without a fifth string.

Modal G - D G D G C D (strings 6 => 1)

The open guitar strings in "Modal G" make up a Gsus4 chord, which is neither major nor minor. Two pairs of fourths on strings 3-6 give a powerful sound, while the small difference of the two highest strings makes a variety of sus chords viable and interesting.

Like other open settings, this setting makes it quite easy to create various options chords using three D strings and two G strings. Additionally, "Modal G" is closely related to "Open G" (only the second strings are different, and only in one fret).

Open G Minor - D G D G bB D (strings 6 => 1)

Used in "Orphan" and "Mist-Covered Mountains of Home" by John Renbourn, the "Open G Minor" tuning is likely a descendant of the G minor banjo tuned D G bB D, where the two lowest strings are doubled an octave down. This tuning differs from "Open G" only in the second string, so their chords are easy to carry.

The tuning of "Open G Minor" is very close to the minor gypsy tuning D G bB D G bB D (strings 7 => 1) of the Russian seven-string guitar. In fact, this is the same seven-string guitar, but without the fifth string.

Open A - E A E A E (strings 6 => 1)

Larry Sandberg says that the "Open A" tuning is especially useful for Delta Blues sounds, and it's a great tuning for slide guitar because it allows you to simply slide from minor to major on the fourth string.

As with all open tunings, it's easy to find an extra variation on a chord by taking advantage of strings that are tuned to an octave.

Instrumental tunings in general

Instrumental tunings are based on the tuning of instruments such as balalaika, charango, dobro and others. They are adapted for use on six strings by supplementing the tuning of instruments that have fewer than six strings in a practical, although not the only possible, way. For example, Zither tuning (2) expands the zither tuning of "C G C G C" to six strings, eventually becoming "C G C G C G". The balalaika tuning combines the bass (E A D) and prima (E E A) balalaika tunings to produce six strings tuned "E A D E E A".

Balalaika - E A D E E A (strings 6 => 1)

The three thick strings are tuned in exactly the same way as in a regular guitar tuning. The third and second strings are tuned in unison, one tone higher than the fourth string. The first string is tuned like the third string in regular guitar tuning, held down on the second fret.

Balalaika - three-string Russian folk instrument with a characteristic triangular shape. The balalaika family extends from the large bass (EAD tuning), includes tenor, alto, and ends with the prima balalaika (EEA tuning). Balalaika guitar tuning combines the bass and prima balalaika tunings on the same neck for an interesting, almost authentic tuning.

The tuning benefits from the natural tones of E and A, and the hypnotic effect of two E strings tuned in unison. If you use regular strings, the second string will be very loose, giving the effect of a sitar sound.

Charango - X G C E A E (strings 6 => 1, 6th string not used)

This is what the scale looks like on the staff:

This seemed like a pretty monstrous setup to me. It cannot be used on regular strings - it is too low. Apparently, they also stretch the basses instead of the upper strings...

The charango is a ten-stringed instrument from the Andes region of Peru and Bolivia, for which the shell of an armadillo is often used as a resonator. The instrument is usually held high on the chest, and the strings are paired, like a mandolin or 12-string guitar. The third pair is usually tuned to an octave, while the other four pairs are in unison. Perhaps the main feature of the tuning is that the strings do not run uniformly from low to high. They form an Am7 chord (with an E bass) and are all within the same octave. This creates very interesting fingering patterns for right hand, since the bass (on the 3rd note) tends to syncopate.

In the Andean musical tradition, the charango plays three roles. When playing a melody, its double strings produce a mandolin-like sound. In finger style, the charango tends to sound "very fast", playing a role similar to the banjo in American folk tradition. Finally, charango players have perfected fast strumming, in which the first finger of the right hand quickly hammers back and forth across the strings. The loose wrist style of this style is reminiscent of the "Spanish" style rasgueado, although the higher pitched charango gives it a unique feel.

Zither (1) - C F C G C D (strings 6 => 1)

A zither is like a mandolin with an extra pair of strings. Zithers can be tuned in a variety of open tunings, such as CFCGC, DGDAD or GCGDG, any of which can be used with virtually the same fingering (in our guitar tuning, this is the fingering for strings 2-6). For example, to play DGDAD, all you have to do is move existing chord shapes down two frets.

Zither (2) - C G C G C G (strings 6 => 1)

Three pairs of fifths span three octaves and create a "wider" tuning than normal. The bass is deeper and the trebles are higher. Chords tend to be very wide, with large intervals between adjacent tones, and scales invariably require sliding up and down the fretboard. The stretches are too large to be comfortable playing in a single position.

Barre on all six strings is a chord that is neither major nor minor, and these three fifths are useful for pieces that are tonally indeterminate.

Moving a riff or fingering pattern an octave is simply a matter of moving two strings. New fingerings for some chords can be found simply by changing the strings. With this trick you can form hundreds of chords from just a few standard chords. Doubling some notes gives even more possibilities.

Dobro - G B D G B D (strings 6 => 1)

Dobro is a type of guitar with a metal resonator. It is usually held horizontally on the lap and used in a similar way to a slide guitar. It is typically tuned in a G major chord, which is different from the G major chord of "Open G" (D G D G B D), although the three high strings are identical. Therefore, the same chords can be fingered on the high strings of both tunings.

The two "triplet" dobro strings are exactly an octave apart, making it easier to visualize chord shapes and move them up and down an octave. For example, a chord can be played high or low, or the two octaves can be combined to create a more “complete” version.

Lefty - E B G D A E (strings 6 => 1)

This is a left-handed tuning - the strings are simply tensioned in the reverse order, in normal tuning. The author of the book claims that it can be played in a normal position.

Interestingly, it doesn't take long to become quite proficient with left-handed guitar (assuming you're fairly proficient with regular right-handed guitar), because left/right symmetry makes many chords easier to remember. In general, scales are more confusing than chords - the sound often goes up when you expect it to go down, and vice versa. Different kinds strumming acquires interesting character, because "alternative bass" becomes "alternative treble".

Overtone - C E G C D (strings 6 => 1)

This tuning is highly "compressed" - all six strings are within little more than a single octave. This sometimes creates very "tight" chords and harmonies. Many major, minor and seventh chords have repeating tones that create interesting sounds.

Pentatonic - A C D E G A (strings 6 => 1)

The six strings of this tuning are within a single octave of the pentatonic scale. The tuning is very "compressed" as all six strings span only one octave. Chords tend to contain multiple copies of tones, giving the impression choral singing and depth.

Systematic systems in general

In systematic tuning, all six strings are equally spaced from each other. This means that any fingering pattern can be moved up and down the fretboard in the same way that a regular barre chord can be moved along the fretboard. Systematic tunings make learning chords very easy, since each fingering pattern will be useful for so many chords.

Minor thirds - C A C (strings 6 => 1)

Strings tuned to minor thirds form a diminished chord. This is a very "compressed" tuning, as all six strings are tuned within one decime. This is the distance that most adults can stretch their fingers on the keyboard, and the chords tend to end up in a tight arrangement, like on a keyboard.

Unlike the piano, however, chords in this tuning often contain multiple copies of a single note. This isn't necessarily a bad thing. The sound of the two notes is invariably different, and the doubled notes “strengthen” each other, just as the doubled strings of a twelve-string guitar add “chorality” and depth. When plucking or plucking a chord, the doubled notes can create a unique effect similar to the sound of a mandolin with double strings.

Major thirds - C E C E (strings 6 => 1)

This tuning could be called "Open C Augmented" since it contains two octaves of an augmented C triad. Thus, it has the properties described above open settings. At the same time, it also has the above-described properties of systematic settings.

All Fourths - E A D G C F (strings 6 => 1)

All fourths are the closest systematic tuning to standard tuning. Looking at the ease of memorizing chord forms in a systematic tuning, the question arises: why does traditional tuning lower the two highest strings down a semitone?

One reason may be the lack of major and minor triads on the full six strings, even in open position. There are, however, numerous easy-to-finger four- and five-note chords that can be easily moved along the fretboard.

All chords and scales on the low four strings of standard tuning can be used literally, and they can be directly transferred to the top two strings. Electric guitar (bass) players often find that this is a very simple and good way expand the tuning of four bass strings to six.

Aug Fourths - C C C (strings 6 => 1)

The augmented fourth is the only interval whose inversion is equal to itself. Augmented fourth tuning is the only tuning in which all chord shapes will remain the same when the strings are reversed (as for lefties). So this setting is its own "lefty". If we lived in peace with equal number left- and right-handed guitarists, then it is possible that this tuning would be the standard!

Mandoguitar - C G D A E B (strings 6 => 1)

The four strings of a mandolin (like a violin) are tuned in a sequence of perfect fifths. The mandoguitar tuning expands this to six strings, with one fifth below the violin and another fifth above. This provides deeper bass than on a guitar, and at the same time higher treble.

However, the first open string is tuned like the first string in standard tuning, pressed down at the seventh fret. Perhaps this is a little high - it will no longer be possible to use ordinary strings.

Minor Sixth - C E C E (strings 6 => 1)

The first string is tuned the same as in standard tuning, and the remaining strings go down in sixths. The fifth and sixth strings are so low that using standard strings no longer possible.

Like the "Major Thirds" tuning, this tuning could also be called "Open C Augmented", although the strings are ordered differently (C E instead of C E), with all that that implies.

Despite this formal similarity, the two settings are quite different. The "Minor Sixth" tuning is very broad and covers more than three octaves, while the "Major Thirds" tuning only covers one and a half octaves. Chords in the "Minor Sixth" tuning tend to be spread wide, with long intervals between notes, and have low bass and high treble simultaneously. Chords in Major Thirds tuning, on the other hand, tend to "compress", often with multiple copies of the same note in the same octave.

Major Sixth - C A C A (strings 6 => 1)

The first string is tuned the same as the first string in standard tuning, pinned down at the fifth fret, with the remaining strings going down in sixths. You can no longer use standard strings.

As in the Minor Thirds tuning, the strings form a diminished C seventh chord. Both tunings contain the notes C A, although the strings are in different orders and double different tones.

Despite this superficial similarity, the two tunings are quite different, primarily because the six strings of the "Minor Thirds" tuning span little more than an octave, while the "Major Sixth" tuning spans more than three and a half octaves. As a result, chords in the "Major Sixth" tuning tend to sound sparse, with large intervals between adjacent notes. Scales will be awkward because they cannot be played in a single position. On the other hand, the tuning range is enormous, as there are five octaves from the lowest “C” to the highest “C”. That's as wide a spacing as most mid-sized keyboards!

The guitar is one of the most famous and at the same time unpredictable instruments that can touch the most sensual strings of the soul. But the guitar itself also has them.

Few people pay attention to the name of the strings on a guitar, considering it completely unnecessary. But often the performance of any composition depends on the setting. Any dissonance causes associative rejection of the composition as a whole. But in this material The focus will be on instrument tuning and use for beginning musicians.

Guitar string name: classic version

In general, it is considered a classic. However, one can recall quite a lot of examples of great composers who preferred seven strings to six (at least Vysotsky).

However, according to music theory and solfeggio, the names of the strings do not differ at all. Based on the rules established general theory music, the notes on which any instrument is built have their own names and abbreviations in the form of Latin symbols and language interpretations. In our case it is:

• C - to.
• D - re.
• E - mi.
• F - fa.
• G - salt.
• A - la.
• H - B (B - B-flat is indicated separately).

(sharps, flats, bekars or their double versions) are applied accordingly. But there are only 6 strings.

The string on the guitar at the top of the neck has the same sound as the first string at the bottom three octaves apart. Therefore, both the first and sixth are, as it were, dominant, but only in relation to a 6-string instrument (the main tuning is in E minor).

Mi-si-sol-re-la-mi: is the sequence in tuning correct?

Quite often, many beginning guitarists who are trying to understand the basics of the technique are immediately faced with the problem of tuning, not knowing which string corresponds to which symbol in the designation or sound.

If you go through the search, sequentially from the sixth string to the first, it will look like “e-la-re-sol-si-mi”. And the above sequence is reverse.

Such a sequence is not suitable for a flat sequence, since it should look like “si-mi-la-re-sol-do-fa”. However, we digress from the topic.

Fundamental tone and tuning

The name of the strings, as is already clear, is standard for any instrument. As for the (6-string) this is done quite simply.

There are several ways in which unison is suitable for a beginning musician. open string lower on the neck, with the one clamped at the fifth fret above. All strings, except the third, are built according to this rule. You can use the harmonic effect on different frets (the strings vibrate among themselves) or turn on a distortion effect, which will add drive and increase vibration. That is, the strings will have to be retuned until the sound matches completely. Professional electric guitars have a special micro-tuning device on the soundboard for this purpose).

Basic chords for beginners

Many beginning guitarists tend to associate the note “A” with the chord, which is the second easiest chord to use in guitar technique.

It consists of only three fingers: two on the second fret (fourth and third string) and one on the second string on the first fret. The note “A” in this case acts as a tonic.

But the simplest chord is still the E minor chord. There are only two strings - the fifth and fourth on the second fret. A major chord played from “E” involves holding the third string on the second fret, and a major chord with the tonic “A” is even simpler - three fingers on the second fret (second, third and fourth string).

Barre technique

Although the name of the strings on a guitar no longer causes misunderstanding, it is worth noting separately a technique called barre (clamping index finger all right).

Any standard chord can be built using this technique. In fact, the same simple applications indicated above can be applied to this case, but only the nut near the tuning mechanism on the headstock acts as a barre.

Varieties of playing techniques

The name of the strings on a guitar is often emphasized with certain symbols, although it is not directly advertised. For example, in the standard version the third, fifth, seventh and twelfth frets are designated (sometimes the ninth). For many famous guitarists you can find all sorts of signs, including skulls or something else. These guitars are made to order.

And playing any instrument is quite difficult, be it picking, strumming, tapping, sliding, etc. With the advent of “gadgets,” the technique has reached a new level. That alone is worth it... And modern guitarists generally demonstrate such miracles of technology that it simply boggles the mind.

The same Steve Vai, Marty Friedmann or Kirk Hammett are the only ones of our time. And by the way, even though they know classical school, do not always use it in their improvisations. For example, Friedman tends to play in fifths, or nine notes per pass. And everyone's technique is different. But if you set a goal, nothing is impossible. Maybe the modern reader will become a great guitarist in the future, who knows?

And he even posted it, albeit in English.
In general, today I decided to touch upon this topic again and consider the most common of them.

It wouldn't hurt to remind you of simple things. If you decide to tune lower, then it is better to take a thicker one, otherwise in some Dropped the usual nine will just dangle and ring on the frets. If you decide to make the tuning of your guitar higher, then in this case you can take thinner strings, because In this case, large gauge strings can be very tight. Well, no one has canceled the excess load on the bar either.

Also, if there is a radical change in the system, be prepared to do it again, although you may not have to do this.

So, let's go.

Standard tuning: E-A-D-g-b-e

In standard guitar tuning, all string intervals are perfect fourths (five semitones), except for the interval between the third string (g) and second string (b), which is a major third (four semitones).

Down a semitone: Eb-Ab-Db-gb-bb-eb

This guitar tuning also called "Eb" - after the note to which the thickest string is tuned. Tuning the guitar is exactly the same as in standard system. The sound intervals between the strings remain exactly the same, but each string is tuned exactly one semitone lower than the standard tuning. Eb tuning can be used for many reasons, such as making the strings softer and bending easier, or to better suit a singer's vocal range. There can be many reasons. This tuning was used by Jimi Hendrix and Stevie Ray Vaughan.

Down a whole tone: D-G-C-f-a-d

This tuning is also called “Tuning D” - based on the note to which the thickest string is tuned. Everything is the same as in the previous case, except that each string is tuned a tone lower than the standard tuning. This tuning is used for the same reasons as "E?", it causes the strings to sag even more and makes bending even easier. At this point I would think about using thicker gauge strings.
If this is not enough for you, then you can continue further. Those. lower or lower each string at an equal interval relative to the standard tuning. The algorithm is simple, the main thing is to choose the appropriate size strings.

Drop-D: D-A-d-g-b-e

Drop-D is probably one of the most popular tunings in hard rock, alternative and other motherfuckers. By the way, folk guitarists do not disdain them either. Although they are generally big fans of alternative and non-standard guitar tunings.
By lowering the low E string one step to D, we can make power chords easier to play. Now they can be played with one finger, simply by plucking three thick strings, the 4th, 5th and 6th, respectively. Drop-D build gives a meatier sound and expands the overall range of the guitar towards the bottom relative to the standard tuning.
By the way, this system does not require a large and lengthy restructuring, which allows you to change the system right on the fly, with the proper skill, of course.
To facilitate this procedure, a special device was even invented and made - the D Tuner, which will allow you to literally rebuild the sixth string in a second.

Double Drop-D: D-A-d-g-b-d

Double drop D is Neil Young's favorite tuning. It is identical to the regular Drop-D, except that the high e is also lowered one tone from the standard tuning - to d. With this setup, it turns out that the 4th high strings form a G major chord, and this can be convenient when playing with a slide. This tuning is also quite quick and easy to get from the standard one.

Drop-C: C-G-c-f-a-d

This tuning will help make your guitar sound lower and meatier when overdriven. This tuning is achieved by first tuning the guitar a tone lower than standard, and then lowering the 6th string another tone.
Quite low, don't you think? With this tuning, thicker strings are clearly needed. Thin ones will obviously hang around like snot.
In general, the technique is simple. We already understand what Drop is. But whether to lower it by one tone, 2 or more - that’s up to you. Everything will depend on the gauge of the strings and your desire.

Tuning D5: D-A-d-d-d-d

This tuning is classified as an open tuning, because If all the strings are open, the chord D5 sounds. This tuning is quite often used when playing slide. To get this tuning you need to lower the 3rd string by 5 semitones, raise the 2nd string by 3 semitones and lower the 1st string by a tone.
There are variations of this tuning in which the 3rd string is raised to A instead of lowered to D. This gives two fifths of a step in different octaves, which gives the sound some depth.

Ostrich formation: D-D-d-d-d-d

In this tuning, all strings are tuned to the same note. Lou Reed is said to have invented this tuning while he was with the Velvet Underground. Important note: With this tuning, you will definitely need to build your own set of strings.

I guess I'll stop for today. Of course, all alternative and non-standard guitar tunings are not limited to this.
I think I’ll throw in a dozen more soon.

Each string on a guitar has its own name and letter designation. In this short note, let's figure out how all the strings of a guitar are designated.

As you know, there are six strings on a regular guitar. There are, of course, other types of guitars: the bass, for example, has only four strings; The Russian guitar has seven strings, there are twelve-string guitars, etc. We will look at the most common type of guitar - the six-string guitar.

Guitar strings are counted starting from the most thin string– to the thickest bass string. The thinnest is the first string. Accordingly, the thickest is the sixth string. When you hold the guitar in the position in which you play it, the first string of the guitar is lower, i.e. closer to the floor, and the very last, sixth string is higher. Bass strings differ from non-bass strings in that bass strings have a metal winding, so they are thicker in volume and produce a lower sound.

So, now about the names of the strings.

the first string is E,

second string – B,

third string – G,

fourth string – D,

fifth string – A,

the sixth string is E.

In some works, composers slightly modify the tuning of the guitar, for example, they rearrange the sixth string instead of the note E to the note D, or less often, instead of the fifth string A, they rearrange its sound into the note G. But these are exceptional cases that are quite rare.

In addition to the usual names, each string also has its own letter designation. These are the letters of the Latin alphabet that indicate the strings of a guitar.

As you noticed, the first and sixth strings have the same names. But this does not mean that these strings sound the same. The only thing they have in common is the name. In fact, the first E string belongs to the second octave, and the sixth E string belongs to the scarlet octave. Those. the distance between these strings is as much as two octaves!

Since not all letter designations of notes are indicated above, but only designations of guitar strings, I decided to simultaneously note the letter designations of all existing notes in music. As we know, there are only seven of them - do, re, mi, fa, sol, la, si. For convenience of letter designation, we will begin to list the notes not from C, but from A. It will be more convenient this way:

If you look closely, it becomes obvious that we are looking at the initial letters of the Latin alphabet. In my opinion, this method of recording makes memorization much easier. letter designations all existing notes.

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