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 between the tuning of the strings 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 open strings and bass).

The keys E major and B minor are used a little less frequently than the others listed, because somewhat less convenient.

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 tuning: 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 is 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 entire musical worlds waiting to be exploited. 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 will show you how to dip your guitar into all the popular alternative tunings, how to play them with barre and open string chords, includes diagrams of scales 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 scales based on the systems 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 are a collection of different tunings, 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 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 ways to use open tuning is to sound the 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 easiest alternate tunings to play in.

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 tunings, this tuning makes it fairly easy to create different variations of 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 the 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 is 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. The different types of strumming take on an interesting character because "alternate bass" becomes "alternate 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 of 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 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 a world with an equal number of left- and right-handed guitarists, it's 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 it is no longer possible to use standard strings.

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!

There are a lot of bands in the world that play in a variety of tunings. It seems that one can get confused in such diversity. But if you look closely, it turns out that almost all tunings belong to one of several common types that I will now describe.

In the pictures below I have depicted the “formulas” of these types. It’s not very visual, but it’s beautiful and New Year’s-like. The numbers indicate the interval between adjacent strings. For example, in standard system the second string is 5 semitones lower than the first, the third is 4 semitones lower than the second, and so on.

This sequence is familiar to anyone who has tuned a guitar “by itself”:

Any tuning with the same sequence of intervals (5-5-5-4-5, if you count from bottom to top) is also a standard tuning, only lowered (or higher). The same chord and scale fingerings will work in it. Any part written in E standard can be played in D standard tuning, it will simply sound a tone lower. The very essence of the tuning - the intervals between adjacent strings - remains the same.

From a "just play" point of view EADGBE- this is the same as DGCFAD. I want to play something from Death, and a guitar in standard tuning is not a problem, we look for taboos and play. It will just sound a tone higher. Because the TYPE of structure is the same. Other options:
- raise the original by a tone in the audio editor and play along with it.
- lower the guitar with a pitch shifter in real time and play to the unaltered original.
- record the minus in standard tuning and play to it.

And if the intervals are different, then we are talking about a different TYPE of structure. If you want to play something from Killswitch Engage, you need to understand what type of system it is. And it turns out that they CGCFAD- this is the same as DADGBE, but a tone lower. So all you have to do is switch to good old DropD.

The easiest way to determine the type of tuning is to read this post, and then enter the tuning in guitarpro and raise and lower the whole thing until something familiar or as close as possible to the standard appears:

I have provided examples for each type of structure. If I write only the name of the group, it means that this structure is the main one for it. It's the same with albums. If a song is listed, the band made one or more songs in that tuning, but used others more often.

Then I indicate the pros and cons of the tuning and which version is closest to the standard tuning (“for testing”). If “for trial” is not indicated, it means that the tuning requires a custom set of strings in any of its variants.

Standard tuning

Standard tuning is a tuning in which all intervals between the strings are 5 semitones, and only between the 2nd and 3rd strings there are 4 semitones. The most standard version (which is simply called the standard tuning) is the one that begins and ends with E - EADGBE. All other options are named by open note, which is obtained on the first or sixth string: for example, D standard.

E standard	EADGBE	The vast majority of all groups in the world. True, it is not so easy to find a large/famous group that would play ONLY in Mi standard. All the heroes of rock are the Beatles, Rolling Stones, Pink Floyd and so on, at least sometimes they turned to other systems. Even AC/DC has several songs in Eb standard. Perhaps the only classic of rock that can be cited is Queen, and even then I’m not entirely sure ( update: Queen also disappears: they have Headlong in DropD). It’s even more difficult with metalheads. All major bands either originally played in lowered tunings, or switched to them over time. Well, again, Burzum and Darkthrone probably have everything in standard order.
Eb standard	EbAbDbGbBbEb	Jimi Hendrix, Stevie Ray Vaughan, Black Sabbath, Motorhead, Guns"n"Roses
D standard	DGCFAD	Death, Children Of Bodom, Nightwish, Gojira, Ghost, Nirvana in "Lithium", Metallica in "Sad But True"
C# standard	C#BEG#	Black Sabbath on the album “Master Of Reality”, My Dying Bride, Limp Bizkit, Dying Fetus
C standard	CFBbEbGC	Dethklok, High on Fire, In Flames, Queens of the Stone Age, Kyuss
B standard	BEADF	Amon Amarth, Crowbar, Soilwork, Carcass, Type O Negative, Sepultura in "Roots"
Bb standard	BbEbAbDbFBb	Cannibal Corpse in "Blowtorch Slaughter"
A standard	ADGCEA	KYPCK

Some groups (Placebo, Vektor), on the contrary, raise the standard tuning by a semitone. Johnny Marr of the Smiths used a tuning a step higher than standard on some songs ("This Charming Man").

+ Standard tuning is the ideal compromise between range and ease of playing chords and melodies. Friendly with many tonalities. This is done especially clearly after you try several alternative tunings: many of them are better than the standard one in one of the parameters, but they are necessarily worse in another or several. The standard has become a standard for a reason - it is the most practical and universal.
– Sometimes you want something different)

Drop tunings

Drop tuning is a standard tuning with the sixth string lowered a tone.
They are named after the open note produced on the sixth string. For example, DropD is DADGBE.

+ Range extension down, power chords with one finger, and their extensions up (like 447454), the first five strings are tuned as in the standard - play solos as much as you want
– Slightly less versatility than standard tuning. The increased “gap” between the 5th and 6th strings somewhat limits play in the lower range.
To try: DropD (DADGBE)

Open formations

They are obtained when all the strings are tuned to the notes of a chord. Usually major or minor. They are called by the name of the chord. There is no clear connection between the name of the system and the system. For example, " open A major" is any tuning where there are open strings A, C# and E (and no others). It could be EEAAC And EAC#AC or even reduced AEAEAC#.

The most common options:

5-7-5-4-3

Open G	DGDGBD	Rolling Stones in "Brown Sugar" and "Start Me Up", Alter Bridge in "Watch Over You"
Open A:	EEAAC	Led Zeppelin in "In My Time of Dying", White Stripes in "Seven Nation Army"
Open F:	CFCFAC	Led Zeppelin in "When the Levee Breaks"

7-5-4-3-5

Open D	DADF#AD	Joni Mitchell in Big Yellow Taxi
Open E	EBEG#BE	Derek Trucks

7-5-7-5-4

>

Open C	CGCGCE	Devin Townsend
Open B	BF#BF #BD #

To try: Open G, Open D, Open C

+ Suitable for playing with a slide
– They are friendly to one or two keys, but can be very uncomfortable in others, and are not always friendly with scale-like passages.

Modal scales

That's what they call it open formations, based on a chord that is not major or minor. Typically this is a sus2 or sus4 chord.

The most famous of them is the “Celtic tuning” (opened by Dsus4):

Standard option - DADGAD(Led Zeppelin in "Kashmir", Staind in "Epiphany"). Lowered versions of this tuning were used by Mark Tremonti in Creed and Alter Bridge, Russian Circles and Sevendust.

Drone formations

Tunings where all or almost all the strings are tuned to the same note (not necessarily the same octave).

DDDDD- The Velvet Underground in "Venus In Furs"
BDDDDD- Goo Goo Dolls in "Iris"

+ Very different
– Very specific

"Seven-string without a sixth"

This is a standard tuning in which the sixth string is lowered not by a tone, as in drop tunings, but by 5 semitones. It turns out like a seven-string with a missing sixth string. And the fingering, which usually gives a fifth on the 5th and 6th strings, now gives an octave.

+ Fingerings can be moved anywhere on the fingerboard without having to adjust them. Complete symmetry.
– You'll have to forget about open chords and barre chords.
To try: EADGCF or D #BE (if you don’t want to tune the first and second strings higher)

Fifth scale (all Fifths)

Each next string is a fifth (7 semitones) higher than the previous one.

One of the main versions is CGDAEB. The lower C then turns out not too low for acoustics, but the upper B turns out to be very high - a fifth higher than the standard upper E. On a guitar with a standard scale and ordinary strings, this B is unattainable: the string will simply break before reaching it.
This guy from YouTube carefully used a very thin string to get the upper B.
A this Instead of the first string, I placed a fishing line with a cross-section of 0.5 mm on a classical guitar, in combination with five nylon strings from the regular kit.

The other extreme is to start with a standard high E and work fifths down from there. It will work out FCGDAE, the first string is as in standard tuning, and the sixth is almost an octave lower than the sixth in standard tuning. This is too low to produce clean notes on a standard scale guitar with this string. You will need a baritone or multi-scale guitar.

+ Complete symmetry, as in the fourth tuning. Huge range (almost an octave wider than standard tuning).
– You need a custom set of strings and a willingness to make compromises (or order an instrument with a multi-scale). You'll have to forget about small intervals and chords in which the notes are close to each other. Playing scales and melodies will require increased stretching.

By the way, a mandolin is tuned to fifth tuning ( GDAE), and that's it bowed instruments, except double bass: for example, violin in GDAE, and the cello in СGDA. In addition, there are four-string tenor guitars which have 4 strings and are tuned in fifth tuning CGDA.

"New Standard Tuning"

A tuning invented by Robert Fripp to solve the problem of the fifth tuning. He replaced the top fifth with a minor third, and it turned out CGDAEG. Upper Sol is also high, but already achievable. You can use standard 9 or 10 gauge strings. But it’s better to assemble a custom kit.

"Nashville tuning"

-8 in the formula means that the 2nd string is tuned not higher than the third, but 8 semitones LOWER. “Nashville tuning” usually works out like this: we take a set of strings for a 12-string and put only the “thin” half of it on the 6-string, tuning it in the same way as on a 12-string. Now the first and second strings are tuned the same as in standard tuning, and all the others are tuned an octave higher. The result is a “ringing” tuning with a reduced range, in which some notes in the chords will be duplicated. This tuning is suitable for overdubs and any additional parts. For example, you can record the same chord part on a 6-string in standard tuning and the same chord in Nashville tuning. In essence, it turned out to be a 12-string, but the only difference is that this is not one performance, but two slightly different ones, which will give more volume, besides, these are two separate tracks and can be panned in different directions.

Double-drop tunings

They are obtained when, in standard tuning, not only the sixth, but also the first string is lowered by a tone.

Double Drop D	DADGBD	Neil Young on "Cortez The Killer", Led Zeppelin on "Going To California"
Double Drop B	BF#BEG	Isis

To try: DADGBD. It's funny that this system is “one step away” from each of the three above - DropD (DADGBE), Open G (DGDGBD) and DADGAD.

Now about the seven-string guitar.

The standard seven-string tuning is a six-string E standard plus a 7th string in B.

Seven string B standard	BEADGBE	Dream Theater in "Caught In A Web", Steve Vai in "Riddle", Joe Satriani in "Mind Storm", Fallujah
Seven string Bb standard	BbEbAbDbGbBbEb	Morbid Angel, early Meshuggah, Nevermore
Seven string A standard	ADGCFA	Fear Factory, Korn
Seven string Ab standard	AbDbGbBEAbDb	Deftones on "Hexagram"

Seven-string Drop tuning is a seven-string standard in which the seventh string is lowered a tone.

Seven-string DropA	AEADGBE	Suicide Silence, Whitechapel, later Scar Symmetry. Jazz guitarist George Van Eps, who played a seven-string electric guitar back in the 60s, also used this tuning.
Seven-string DropAb	AbEbAbDbGbBbEb	Periphery on seven-string songs
Seven-string DropG	GDGCFAD	Vildhjarta, Emmure
Seven-string DropF#	F#BEG#	Rivers Of Nihil, Deftones on Saturday Night Wrist album
Seven-string DropD	DADGCEA	Black Tongue

Some people take the six-string drop tuning and add a seventh string from the bottom. It can be a third lower:

Six-string DropD + low B	BDADGBE	Animals As Leaders in "Cafo"
Six-string Drop C# + low A#	A

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 system.

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 goes down a tone. 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 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 hard 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. The first two albums of the band System of a Down were played at 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 drop 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 tuning has the same features as the modal tuning D (DADGAD) discussed above; it is convenient to play both major and minor songs. Jimmy Page also used this tuning. 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.

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..

10 Tips: How to Play Guitar with Good Technique

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, “twists”). 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 “twists” 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 level 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.

How to learn to play guitar from scratch at home?

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 standard 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.

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 from the thinnest 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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