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 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 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):
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 system will make non-standard products available open strings. 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 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 on 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 recent years various singers and songwriters.
Explore these alternative musical universes with this study guide, complete with handy chord diagrams 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 with many open tunings, Open D's multiple D and A strings can be used to create many variations of chords using those 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 gypsy minor 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 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. Different types of strumming acquire 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 is 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 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 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 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!
Non-classical settings are used for the convenience of playing certain musical genres or pieces of music.
Classic setting method
- tuning fork
- The 1st string is used to tune the 2nd string, which, being pressed at the V fret, should sound the same as the 1st open (not pressed) string.
- The 3rd string, pressed on the 4th fret, is tuned to the 2nd open string.
- The 4th string, pressed at the V fret, is tuned to the 3rd open string.
- The 5th string, pressed at the V fret, is tuned to the 4th open string.
- The 6th string, pressed at the V fret, is tuned to the 5th open string.
Tuning with harmonics and temperament
Allows for much more precise tuning, since the accuracy of the frets is not always sufficient.
- The 1st string is tuned using the reference sound - the sound of a tuning fork - or the sound of an already tuned musical instrument.
- The 6th string is tuned so that its harmonic at the 5th fret sounds in unison with the 1st string.
- The 5th string is tuned so that its harmonic at the 7th fret sounds in unison with the 1st string, and then it is slightly pulled up so that a beat occurs with a frequency of 0.372 Hz (one beat in 2.7 seconds).
- The 4th string is tuned so that its harmonic at the 7th fret sounds in unison with the harmonic of the 5th string at the 5th fret, and then slightly tightened so that a beat occurs with a frequency of 0.497 Hz (one beat per 2.01 seconds).
- The 3rd string is tuned so that its harmonic at the 7th fret sounds in unison with the harmonic of the 4th string at the 5th fret, and then slightly tightened so that a beat occurs with a frequency of 0.664 Hz (one beat per 1.51 seconds).
- The 2nd string is tuned so that its harmonic on the 5th fret sounds almost in unison with the harmonic of the 1st string on the 7th fret, but is just a little short so that beats with a frequency of 1.12 Hz are heard (one beat per 0.9 seconds).
When tuning using the tuning fork A (“A”), the 5th string is tuned first (the harmonic on the V fret in unison with the tuning fork), then the 1st and 6th, and then the 4th, 3rd and 2nd.
If you have good hearing and have gained enough experience, you can do without using harmonics, catching the beat of overtones in the sound of open strings.
Since changing the string tension leads to deformation of the guitar body and detuning of the remaining strings, it is recommended to tune the guitar in 2-3 iterations, the first of which can be done without temperament (without carefully counting the beat frequency).
Lower tunings of a six-string guitar
Decreased (i.e. lower than the normal EBGDAE tuning) tunings are used for more comfortable playing a certain key, or to obtain a lower, “heavy” sound. In particular, many rock guitarists love the so-called. Drop tunings, which are named by adding to “Drop” a note on the 6th string that drops 1 tone below the first (for example: Drop C = DAFCGC). To rebuild from classical system in any lowered mode, all the strings of the guitar are lowered by a certain interval (for example, to change to tuning D, you need to lower all the strings of the guitar by a tone). To lower the guitar's tuning by more than a tone, you may need to change the strings to thicker ones due to the weakening of their tension. Also, for tunings below B (B), mostly baritone guitars are used.
| String | Scale E♭ (E-flat) | Build D (re) | Scale D♭ (D-flat) | Build C (before) | System B (si) | |||||
|---|---|---|---|---|---|---|---|---|---|---|
| Note | Frequency (in hertz) | Note | Frequency | Note | Frequency | Note | Frequency | Note | Frequency | |
| First | e♭¹ (E-flat first octave) | 311.13 | d¹ (D first octave) | 293.66 | d♭¹ (D-flat first octave) | 277.18 | c¹ (to the first octave) | 261.63 | b (B small octave) | 246.94 |
| Second | b♭ (B-flat small octave) | 233.08 | a (A small octave) | 220.00 | a♭ (A-flat small octave) | 207.00 | g (small octave sol) | 196.00 | g♭ (G-flat small octave) | 185.00 |
| Third | g♭ (G-flat small octave) | 185.00 | f (f small octave) | 174.62 | e (minor octave E) | 164.81 | e♭ (small octave E-flat) | 155.56 | d (small octave D) | 147.83 |
| Fourth | d♭ (D-flat small octave) | 138.59 | c (to small octave) | 130.82 | B (big octave B) | 123.48 | B♭ (B-flat major octave) | 116.54 | A (A major octave) | 110.00 |
| Fifth | A♭ (A-flat major octave) | 103.80 | G (major octave G) | 98.00 | G♭ (G flat major octave) | 92.50 | F (major octave F) | 87.31 | E (major octave E) | 82.41 |
| Sixth | E♭ (major octave E-flat) | 77.78 | D (major octave D) | 73.91 | D♭ (D-flat major octave) | 69.30 | C (to major octave) | 65.41 | B¹ (B counter octave) | 61.74 |
| Sheet music |  |
 |
 |
 |
||||||
Open C
One of characteristic features is the ease of extracting basic major chords. A simple barre on the 2nd fret will give "D", 4th fret will give "E", 5th fret will give "F" and so on. Open strings will give you "C".
In order to tune the guitar in “Open C”, you need (starting from “ standard tuning"): 1st string (thin) Leave as in " standard system" - "Mi" ("E")
2nd string. Raise half a step to “C” (“C”)
3rd string. Leave as in “standard tuning” - “Salt” (“G”)
4th string. Lower one step to “Before” (“C”)
5th string. Lower one step to “Salt” (“G”)
6th string (thick). Lower by two steps from “E” to “Do” (“C”)
Raised tunings of a six-string guitar
Tuning a guitar, especially a classical one, can damage the instrument., as well as to injuries due to a sudden break of a tightened string.
To increase the tuning, you can use a capo. If rebuilding your guitar is necessary, it is recommended to use a thinner set of strings.
| String | Build F (fa) | Tuning F# (F-sharp) | Tuning G (sol) | G# scale (G sharp) | System A (la) | |||||
|---|---|---|---|---|---|---|---|---|---|---|
| Note | Frequency (in hertz) | Note | Frequency | Note | Frequency | Note | Frequency | Note | Frequency | |
| First | f¹ (fa first octave) | 349.23 | f¹# (F-sharp first octave) | 369.99 | g¹ (sol of the first octave) | 392.00 | g¹# (G-sharp first octave) | 415.30 | a¹ (A first octave) | 440.00 |
| Second | с¹ (to the first octave) | 261.63 | с¹# (C-sharp of the first octave) | 277.18 | d¹ (D first octave) | 293.66 | D¹# (D-sharp first octave) | 311.13 | e¹ (E first octave) | 311.13 |
| Third | g# (G-sharp small octave) | 207.00 | a (A small octave) | 220.00 | a# (A-sharp small octave) | 233.08 | b (B small octave) | 246.94 | c¹ (to the first octave) | 261.63 |
| Fourth | d# (d-sharp small octave) | 155.56 | e (minor octave E) | 164.81 | f (f small octave) | 174.62 | f# (F-sharp small octave) | 185.00 | g (small octave sol) | 196.00 |
| Fifth | A# (A-sharp major octave) | 116.54 | B (big octave B) | 123.48 | c (to small octave) | 130.82 | c# (C-sharp small octave) | 138.59 | d (small octave D) | 147.83 |
| Sixth | F (major octave F) | 87.31 | F# (F-sharp major octave) | 92.50 | G (major octave G) | 98.00 | G# (G-sharp major octave) | 103.80 | A (A major octave) | 110.00 |
| Sheet music |  |
 |
 |
 |
 |
|||||
"Drop D" formation
This tuning differs from the classical one in that it is lowered by tone sixth string. It is often used by hard rock electric guitarists because it makes it easier to play 5th chords. power-chord), also some works were written for him classical guitar(in the keys of D major and D minor).
"Drop C" formation
Used to produce an even lower and “heavier” sound on an electric guitar. Unlike the classical system, all strings except the sixth tune in to tone below and sixth string- on two tones.
Like the Drop D tuning, it is used to play fifth chords.
Double Drop-D formation
The tuning is similar to Drop D, differing in that the first string is lowered a tone. For tuning from classical tuning first And sixth the string is lowered to tone.
In this tuning, the top four open strings of the guitar form a G major chord, making it easier to play with slide. Double drop D was often used by performer Neil Young.
Build "DADGAD"
The tuning most often used in folk music. It was invented by British guitarist David Graham for more convenient playing from notes recorded for violin or bagpipes.
To change the “DADGAD” system from the classic one, you need to lower it to tone first, second And sixth strings.
Build "DADDAD"
The “Papa-Papa” tuning is most suitable both for use in folk music (Celtic) and for playing rhythm guitar parts in “heavy” (alternative) music, 4 notes at a time. To change the tuning “DADDAD” from the classical one, you need to lower it to tone first, second And sixth strings. A third tune in unison with fourth.
Build "Open D"
In this tuning, the open strings form a D major chord. It is used primarily on slide guitars.
To rebuild into this system from the classical first, second And sixth strings drop to tone, third goes down to semitone.
Build "Open G"
In this tuning, the open strings form a G major chord.
To change to "Open G" tuning from the classic first, fifth And sixth strings drop to tone.
"New Standard"
Also known as "Crafty tuning". A tuning developed by musician Robert Fripp and used by him since 1983. In contrast to the classical “quart” tuning, the tuning proposed by Robert Fripp is closer to bowed string instruments, and first, second And third the strings are tuned similarly to a violin. Tuning to this tuning may require replacing the lower strings with thicker ones and the upper strings with thinner ones.
"Alternative tuning Cross A"
E-A-E-A-E-A."Sitar A" - alternative low guitar tuning. Reminds me of the sound of an Indian sitar. Great for creating Indian (oriental) music.
Seven-string tunings
Standard
The structure of the strings of a seven-string guitar is mixed - terts-quart, so the chord of the open strings is consonant (major quartet-sixth chord), in contrast to six string guitar. This system is considered classical (academic).
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 Large gauge strings, in this case, 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 is also called "Eb" - based on the note to which the thickest string is tuned. Tuning the guitar is exactly the same as in standard tuning. 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.
On whole tone down: 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 tuning gives a meatier sound and extends the overall range of the guitar towards the bottom compared to 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.
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 later. This is how the strings should be tuned when classical system:
- e (first, most thin string- note "mi")
- 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 “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 search for “E notes for guitar tuning” 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.
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 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.
In this article on the site we will talk about alternative guitar tunings.
Unusual setting guitars are a type of tuning that differs from the classical and generally accepted fourth tuning.
It is important to understand that we are talking here about open strings, that is, notes will be extracted from open strings without pressing.
The classic tuning of a six-string guitar in notes looks like this (from the first string to the sixth): E (mi), H (si), G (sol), D (re), A (la), E (mi).
This tuning is used by guitarists 95% of the time and is considered the default tuning.
For example, if you see a chord grid with the indicated finger placement, it means that this classical tuning is implied, and you only need to use it.
On the other hand, there are a lot musical groups, who take advantage of their individual customization of tools. Often, such an alternative tuning differs little from the generally accepted one, and the changes affect only individual strings.
For example, the sixth bass string in heavy musical styles often drops a tone lower - from MI - to RE, adding an additional seventh string SI (the thickest).
Similar techniques of alternative tuning are used on the bass guitar, especially the five-string, where instead of the classical MI there is a SI or even a SI-flat in the bass.
If you look at the tabs of the same Korn, Sepultura or Cannibal Corpse, you will definitely notice the use of alternative guitar tuning.
However non-standard setting The guitar is not limited to just one string. The same metal bands, in order to give the music more heaviness and darkness, rebuild the entire guitar.
For example, a classical guitar tuning often shifts entirely down a half step, moving from the general tuning of fourths MI to the general tuning of RE.
All this is implemented simply: all the strings of the guitar are lowered at the same interval lower, which achieves a special lowered sound.
On the other hand, alternative guitar tunings are often used in other styles.
In jazz, in blues, in grunge and even in rock.
For example, when playing with a slider (a special tip placed on the guitarist’s finger), it is very convenient to line up the guitar in fifths, so that when the fret is pressed, a whole chord can be heard without dissonant notes. Similar practices are found in other styles of music.
Unusual guitar tuning, alternative tuning
In order not to bore the reader with long stories, we will present several alternative tuning options for a six-string guitar. You can use these settings variations at your own discretion.
For example, to diversify your playing, to find new musical ideas, to change the monotonous classical sound of an instrument...
Alternate tuning of a guitar is usually implemented so that all of the open strings of the instrument produce a specific minor or major chord.
When playing in this tuning, you can simply press entire frets of the guitar and get new chords.
For example, by tuning a guitar in D major and plucking all the strings at the fifth fret, you will get a pure G major, and at the seventh fret you will get an A major.
Note: The examples below indicate an alternative order of notes from the SIXTH string to the FIRST string (the sixth is the far left and the first is the far right).
To perform the correct tuning you will have to either tighten or loosen individual strings, going beyond the generally accepted tuning.
1. Alternative guitar tuning in D major (D):
2. Unusual guitar tuning in G major (G):
3. Tuning a six-string guitar in the key of C major (C):
4. Alternative tuning E major (E):
5. Non-standard system G minor (Gm):
6. Alternative guitar tuning in D minor (Dm):
7. Unusual system six-string guitar in the key of A minor (Am):
And a few more completely unusual configuration options:
8. SOL fret tuning (G):
9. Alternative tuning in PE fret (D):
10. Guitar stand in A major (A major):
11. Tuning a guitar with sol bass:
12. Unusual tuning of an instrument with bass BEFORE:
13. Bass retuned to PE (D):
14. Guitar tuning with a lowered first string:
Note: "B" is the symbol for B-flat, and simply B is written as "H". Moreover, in the pictures for this article, “B” indicates the note SI.
This confusion is associated with the notation of the SI note in various options musical notation, but don't let that scare you. In the article, the pure note SI is designated exclusively as “H”.
As you can see, there are different approaches to rebuilding a six-string instrument. In some cases, all notes are changed, and in some situations, only some strings are twisted (not all).
For example, changes are often made to the bass strings, and you may see this option especially often. The most problematic type of guitar tuning is adding strings.
To implement such a tuning, you will either need to use a seven-string instrument, or shift all the strings, adding a thick B string in the bass.
In general, such alternative settings you could come up with your own by experimenting with different guitar tunings.
Do not think that all possible options are limited to only the 14 examples described above. In fact, there are many, many more alternative configuration methods!