A natural question arises: "how to tune a 6 string guitar for a beginner?". If you have big plans and want to become a guitarist from God, at a minimum you need to be able to tuning your guitar correctly. But even if there are no such plans, you will still have to tune the guitar).
“I can’t tune my guitar” is a phrase you can often hear from a beginning guitarist, but first, let’s figure out how the strings should be tuned. The strings on a guitar are numbered from bottom to top, from the thinnest string to the thickest..
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With classic guitar tuning The 6th string is tuned to , the Latin designation "E" is often used. Usually the sixth string is tuned first, and the rest from there, but more on that a little later. Here's how the strings should be tuned in classical tuning:
- e (the first, thinnest string is the note "E")
- B (second string, note "B")
- G (third string, G note)
- D (fourth string, note "D")
- A (fifth string, note "A")
- E (the sixth, thickest string is the note "E")
Now that we know how the strings should be tuned, let's try to tune them. By the way, you know ? To do this, we will use pegs or, as some beginners call them, “twisters”). can be turned in one or the other direction.
By turning the peg clockwise we tighten the string, giving it a higher sound, and accordingly turning it counterclockwise we loosen the string and it sounds lower.
When tuning a 6 string guitar, turn you need to be careful so as not to break the string, especially for beginner guitarists. With experience, you will feel the tension of the string much more accurately, but for now, be more careful and turn the “twisters” carefully.
Tuning the 6th string
First of all, we tune the sixth string on the guitar. To do this, we need a so-called reference sound, specifically the note “E”. Where can I get it? You can listen to it on our website, take it on another tuned musical instrument, you can use a tuning fork, or go to YouTube and write in the search “E note for tuning a guitar” or something like that.
Some people have perfect pitch and can determine the pitch of a note without using the above methods. This quality of hearing can be developed, but as a rule it is innate. However, not all professionals have such skills, so the method proposed below is used by both experienced guitarists and beginners.
And so, we have found a “sample” note, let’s start tuning. Tuning a 6-string guitar, as well as playing any other musical instrument, requires at least some degree of hearing. The presence of hearing in a beginner is very easy to determine, if you are able to distinguish which of two notes sounds higher and which lower, then you definitely have hearing. This is what we need now.
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Play standard note "mi" and at the same time start plucking the sixth string of your guitar. Do you feel the difference? Does your guitar string sound lower than the reference note? So you need to tighten it up a little, twist smoothly and continue tuning the 6th string until our string and the reference note sound . Try tightening and loosening the string a little until you achieve the desired sound.
Tuning the rest of the strings
can be tuned in a similar way, using reference notes, but as a rule, “in everyday life” they are tuned relative to the 6th string. The procedure is as follows:
We will use the 6th string clamped on the 5th fret and the 5th string open (that is, not clamped on any fret). We alternately pluck the fifth and sixth strings and adjust the sound of the fifth string until we achieve unison.
The remaining strings are tuned according to a similar pattern, but with a slight correction (pay attention to the setting of the second string). I will describe the entire string tuning scheme:
- Sixth string - tune either by reference note or by ear.
One of the problems that every guitarist faces while learning is choosing a guitar tuning. The guitar tuning is determined by the sound of the open strings; accordingly, the transition to one or another key is accomplished by tuning the strings to the appropriate notes. Below is a list of the most widely used tunings:
. "Spanish" or standard. This tuning is considered a classic. This is where mastery of playing technique begins. Many people continue to play it after completing their training, since this system is universal. Designation - EBGDAE, according to strings (1st to 6th).
Drop D. One of the popular tunings, often used in rock music, especially by hard rock performers. Literally translated as "lowered D". The reason for this name lies in the fact that in this tuning the 6th string sounds a tone lower than in the standard tuning, that is, it corresponds to the note D (D). This type of tuning sounds best on an electric guitar.
Drop C. This guitar tuning, like the previous one, is based on the fact that the sixth string sounds a full tone lower than the first. However, with Drop C, strings one through five are first tuned exactly one step down from standard tuning. That is, we get DAFCGC. In this tuning the guitar sounds lower and heavier. Used primarily in heavy music.
Open D. This tuning is most often used when playing slide guitar.
High and low tunings. Often musicians lower or raise the guitar tuning by a semitone, a tone, or even more. All strings can be tuned the same or differently. However (especially classic ones) when played in high formation they are at risk of being damaged.
. Instrumental scale. Implies a standard tuning for another instrument. You can tune it like a balalaika, charango, or cithara.
I would also like to mention that the guitar, unlike many musical instruments, is not tuned in fifth scale. Why, despite the fact that the fifth gives the purest and most pleasant sound, is the guitar tuned in such an incomprehensible, at first glance, way? The answer to this question is more than simple: standard guitar tuning provides the greatest simplicity and ease of play.
Where to start? Naturally, with mastering the technique of playing in the classical (Spanish) system. Only after studying musical literacy, especially chords, you can choose in which tuning it is more convenient to play this or that chord, this or that song. It is worth noting that it will be much more difficult for a beginner to play in an alternative formation, especially if he does not know the barre technique.
If you play or plan to play in the future, it's worth special attention on the geometry of the neck, especially the height of the strings. The guitar may need to be re-tuned to avoid loose strings and rattling when played in the new tuning. Electric guitars for beginners are not designed for playing alternative tunings, and their sound, for example, in Drop C, may not please you. Be sure to take this into account when purchasing!
In addition to the usual way to tune a guitar, there are alternative tunings.
Guitarists need them to diversify their performance and achieve an unusual or powerful sound, and also to simplify finger placement while playing. If you have problems with the setup process, there is a separate section about this on our website.
In this article, the tuning will be indicated from the sixth string to the first. Some settings are easier to remember this way.
Classical tuning and its variations
EADGBE - classic tuning
The generally accepted system, also called “Spanish”, is most often used to write songs. As an example, consider Ed Sheeran – Shape of you. Ed plays this song in classical tuning.
Variation one - DADGBE
Among guitarists it is called a drop-D, since the sixth string drops a tone to the note D. In it, power chords are pressed with one finger, which is why drop-D is often used in rock music.
Turns into this:
Stockholm Syndrome by Muse is played in this tuning.
Variation two - DADGBD
Also called Double drop-D, similar to the previous one, but the first string is lowered a tone down. It is convenient to play parts through the repeated note D, both on the sixth and on the first string. Skillet's Circus For A Psycho plays the main riff in this tuning.
Variation three - DADGAD
Among guitarists it is called “deadged”, often used in folk music because of its ease of imitation of bagpipes and sitar. Open strings do not form thirds, so this tuning is neither major nor minor, but modal. The first, second and sixth strings are lowered a tone. White summer by the Yardbirds plays just like that.
Drops and capo
Next, we will consider the tunings formed by a uniform change in all strings from the classical tuning and its variations. The downward movement adds “heaviness” to the sound. The vocalist may be more comfortable singing. As the tuning goes down, it is better to switch to thicker strings; their tension will decrease and it will be uncomfortable to play.
Step one - D#G#C#F#A#D#
It’s also half-step-down, “half a step down.” All strings are evenly lowered by a semitone.
Guns`n`roses play their classic Sweet Child O`mine a little lower than it might seem.
Step two - CGCFAD
Popular in metal and heavy rock drop-C. This is the tuning that is almost always used, with all strings down a tone and the sixth string down another tone, i.e. one tone down from drop-D. First two albums System groups of a Down played in drop-C. For example, the song Toxicity from the album of the same name.
Step three - BF#BEG#C#
Another tone lower than the previous one, also known as drop-B. Even harder and more aggressive. Slipknot used this tuning on their first albums. Wait and bleed is no exception.
We will not consider the constructions below here, since in modern music For even greater reduction, guitars with additional strings, 7-, 8-, 9-strings, are used.
Capo
To improve the tuning, the guitar is very rarely retuned; for this, a capo is used, which evenly clamps all the strings.
This creates a movable threshold, and if you need to play a song in a different key, for example, for the convenience of the vocalist, you just need to move the capo to the desired fret.
For example, the Scarborough fair by Simon and Garfunkel is played with a capo at the seventh fret, which creates a BEADF#B tuning 3.5 steps higher than the classic one.
Open formations
Open tuning is the tuning of all strings not by intervals, but by the notes of a chord.
Such tunings are often used in folk music and when playing with a slide - usually a metal or glass cylinder that is placed on the finger of the left hand. It is moved along the strings as a “moving” fret.
Let's look at some commonly used open tunings.
Open D major Open D - DADF#AD
We have already discussed the DADGAD tuning as a variation of the classic tuning. Let's lower the third string another semitone - we get the notes of the D major chord.
For example, let's take the composition of guitarist Alain Johannes – Make God Jealous.
Open D minor Open D Minor - DADFAD
Let's lower the third string another semitone, and we'll end up in D minor, a more “sad” chord. Let's evaluate the changes in sound using the song Wine and Roses by John Fahey.
Open G major Open G - DGDGBD
Let's return the second and third strings to classical tuning, but let's lower the fifth one tone - we move into a G major chord. This tuning was used by Jimmy Page in Led Zeppelin's Bron-Y-Aur Stomp.
Modal scale G Modal G - DGCGCD
This system has the same features as discussed above. modal system in D (DADGAD), it is convenient to play both major and minor songs. Jimmy Page also used this system. He generally used many non-standard tunings and was their popularizer. For example, Rain song performed jointly with Robert Plant.
Open G minor Open G Minor - DGDGA#D
By lowering the second string a semitone, we form a G minor chord from the open strings. It is used on guitarist John Renbourn's Mist-Covered Mountains of Home and imitates a lute.
Open A major Open A - EEAAC#E or EAC#EAE
There are two setup options. In the first case, we raise the second, third and fourth strings by a tone, forming an A major chord.
In the second case, lower the second string by a tone, the third by a tone and a half, and the fourth string by a half tone. This variation is often found in delta blues compositions, one of the earliest blues movements.
Robert Johnson uses a slide to play in this tuning on Crossroads Blues.
Open C major Open C - CGCGCE or CGCGGE
The sixth, fifth and fourth strings repeat drop-C, the second string is raised by a semitone (or lowered by two tones), the third and first - as in the classics.
Chris Cornell's song Burden In My Hand, performed by Soundgarden, is written in this tuning.
There are many more rarer customization options. Nothing prevents a musician from tuning the instrument the way he wants or needs.
Come to us and we will teach you how to play the guitar and find innovative solutions to musical problems.
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 height: I read on the wiki that standard tuning lower by 0.5, 1, 1.5, 2, and 2.5 tones, raise 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):
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 have been created and/or popularized in recent years by various singers and songwriters.
Explore these alternative musical universes with this study guide, complete with handy chord and scale diagrams. 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 methods use 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 the same as in standard E A D G B E tuning (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)
Three thick strings are tuned exactly the same 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. Various types 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 of open settings described above. 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 this to be a very simple and good way to extend 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 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 widely spaced, with large intervals between notes, and have low bass and high treble at the same time. 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 huge, as there are five octaves from the lowest “C” to the highest “C”. That's as wide a spacing as most mid-sized keyboards!
In the previous article, the issue of lowered order guitars. In this article I would like to discuss it in more detail.
Let me remind you that the standard tuning of a six-string electric guitar is: E[E]-A[A]-De[D]-G[G]-B[H]-E[E], starting from the sixth string. Let's look at the prerequisites for switching to a different guitar tuning. Down tuning is used in extreme music to create a tighter, heavier and more powerful sound. You can also give an example of when musicians playing in rock bands decide to use a lower tuning to make it easier for the vocalist to sing. That is, they adapt to a certain person and a certain style of music. By the way, you can also raise the tuning of the guitar, adapting to the singer’s vocal abilities. Also, the use of a low guitar tuning is due to a different chord fingering. That is, the tuning of the guitar is selected for the convenience of playing chords.
When using low tuning electric guitars, naturally, the string tension will decrease and thin strings may simply hang. Therefore, you need to select thicker sets of strings.
I can say that there are quite a lot of options for tuning a guitar. We'll look at a few common ones. Using their examples, you can choose the optimal system for yourself or come up with your own.
- Lower by half a tone. In this case, the system becomes as follows: Re#-Sol#-Do#-Fa#-Aa#-Re#.
- Lower by tone. Guitar tuning: D[D]-G[G]-Do[C]-F[F]-A[A]-D[D].
- A formation called "Drop D". In this case, only the sixth string is lowered by tone: Re[D]-A[A]-Re[D]-Sol[G]-Bi[H]-Mi[E]. In this case, there is a fifth between the sixth and fifth strings and you can play various riffs by pressing these two strings with one finger.
- Build called "Drop C". The sixth string is lowered by two tones. The remaining strings are one tone. Then the guitar tuning looks like this: Do[C]-G[G]-Do[C]-Fa[F]-A[A]-D[D]. The tuning is lower than described above, but similarly you can play chords on two low strings with one finger.
- And in conclusion, let's look at one more system. I remember him from the song Kashmir by Led Zeppelin. It looks like this: Re[D]-A[A]-Re[D]-Sol[G]-A[A]-Re[D].
Guitar tuning: Drop D
Guitar Tuning: Drop C