Hubbry Logo
Guitar tuningsGuitar tuningsMain
Open search
Guitar tunings
Community hub
Guitar tunings
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Guitar tunings
Guitar tunings
Guitar tunings
View on Wikipedia
from Wikipedia

The range of a guitar with standard tuning
Standard tuning (listen)

Guitar tunings are the assignment of pitches to the open strings of guitars, including classical guitars, acoustic guitars, and electric guitars. Tunings are described by the particular pitches that are made by notes in Western music. By convention, the notes are ordered and arranged from the lowest-pitched string (i.e., the deepest bass-sounding note) to the highest-pitched string (i.e., the highest sounding note), or the thickest string to thinnest, or the lowest frequency to the highest.[1] This sometimes confuses beginner guitarists, since the highest-pitched string is referred to as the 1st string, and the lowest-pitched is the 6th string.

Standard tuning defines the string pitches as E (82.41 Hz), A (110 Hz), D (146.83 Hz), G (196 Hz), B (246.94 Hz), and E (329.63 Hz), from the lowest pitch (low E2) to the highest pitch (high E4). Standard tuning is used by most guitarists, and frequently used tunings can be understood as variations on standard tuning. To aid in memorising these notes, mnemonics are used, for example, Eddie Ate Dynamite Good Bye Eddie.[2]

The term guitar tunings may refer to pitch sets other than standard tuning, also called nonstandard, alternative, or alternate.[3] There are hundreds of these tunings, often with small variants of established tunings. Communities of guitarists who share a common musical tradition often use the same or similar tuning styles.

Standard and alternatives

[edit]
In standard tuning, the C-major chord has multiple shapes because of the irregular major-third between the G- and B-strings. Four such shapes are shown above.

Standard

[edit]

Standard tuning is the tuning most frequently used on a six-string guitar and musicians assume this tuning by default if a specific alternate (or scordatura) is not mentioned. In scientific pitch notation,[4] the guitar's standard tuning consists of the following notes: E2–A2–D3–G3–B3–E4 .

String frequencies
of standard tuning
String Frequency Scientific
pitch
notation
1 (E) 329.63 Hz E4
2 (B) 246.94 Hz B3
3 (G) 196.00 Hz G3
4 (D) 146.83 Hz D3
5 (A) 110.00 Hz A2
6 (E) 82.41 Hz E2

The guitar is a transposing instrument; that is, music for guitars is notated one octave higher than the true pitch. This is to reduce the need for ledger lines in music written for the instrument, and thus simplify the reading of notes when playing the guitar.[5]

Standard tuning provides reasonably simple fingering (fret-hand movement) for playing standard scales and basic chords in all major and minor keys. Separation of the second (B) through fifth (A) strings being tuned in minor 3rds and second (e) following the low (E) string as the separation being tuned in 5ths, and creating as by a five-semitone interval (a perfect fourth) allows the guitarist to play a chromatic scale with each of the four fingers of the fretting hand controlling one of the first four frets (index finger on fret 1, little finger on fret 4, etc.) only when the hand is in the first position.

The open notes of the second (B) and third (G) strings are separated by four semitones (a major third). This tuning pattern of (low) fourths, one major third, and one fourth was inherited by the guitar from its predecessor instrument, the viol. The irregular major third breaks the fingering patterns of scales and chords, so that guitarists have to memorize multiple chord shapes for each chord. Scales and chords are simplified by major thirds tuning and all-fourths tuning, which are regular tunings maintaining the same musical interval between consecutive open string notes.[3][6]

When barring each fret in standard tuning, all of the notes of the minor pentatonic scale based on the note of the first fret (along with its relative major pentatonic scale) are produced. For example, the open strings E, A, D, G, B, E yield the notes of the E minor pentatonic scale (G major pentatonic), and barring the third fret produces the notes of the G minor pentatonic scale (B♭ major pentatonic).

Chromatic note progression
0 I II III IV
String open 1st fret
(index) 		2nd fret
(middle) 		3rd fret
(ring) 		4th fret
(little)
6th E2 F2 F♯
2 / G♭
2 		G2 G♯
2 / A♭
2
5th A2 A♯
2 / B♭
2 		B2 C3 C♯
3 / D♭
3
4th D3 D♯
3 / E♭
3 		E3 F3 F♯
3 / G♭
3
3rd G3 G♯
3 / A♭
3 		A3 A♯
3 / B♭
3 		B3
2nd B3 C4 C♯
4 / D♭
4 		D4 D♯
4 / E♭
4
1st E4 F4 F♯
4 / G♭
4 		G4 G♯
4 / A♭
4

Alternative

[edit]

Alternative ("alternate") tuning refers to any open string note arrangement other than standard tuning. These offer different kinds of deep or ringing sounds, chord voicings, and fingerings on the guitar. Alternative tunings are common in folk music. Alternative tunings change the fingering of common chords when playing the guitar, and this can ease the playing of certain chords while simultaneously increase the difficulty of playing other chords.[7]

Some tunings are used for particular songs and may be named after the song's title. There are hundreds of these tunings, although many are slight variations of other alternate tunings.[8] Several alternative tunings are used regularly by communities of guitarists who share a common musical tradition, such as American folk or Celtic folk music.[9]

The various alternative tunings have been grouped into the following categories:[10]

Joni Mitchell developed a shorthand to specify guitar tunings: one letter naming the note of the open lowest string, followed by the relative fret (half-step) offsets between adjacent strings; in this format, the standard tuning is E55545.[18] This scheme highlights pitch relationships and simplifies comparisons among different tuning schemes.

String gauges

[edit]

String gauge refers to the thickness and diameter of a guitar string, which influences the overall sound and pitch of the guitar depending on the guitar string used.[19] Some alternative tunings are difficult or even impossible to achieve with conventional guitars due to the sets of guitar strings, which have gauges optimized for standard tuning. With conventional sets of guitar strings, some higher tunings increase the string-tension until playing the guitar requires significantly more finger-strength and stamina, or even until a string snaps or the guitar is warped. However, with lower tunings, the sets of guitar strings may be loose and buzz. The tone of the guitar strings is also negatively affected by using unsuitable string gauges on the guitar.[20]


Generally, alternative tunings benefit from re-stringing of the guitar with string gauges purposefully chosen to optimize particular tunings[21] by using lighter strings for higher-pitched notes (to lower the tension of the strings) and heavier strings for lower-pitched notes (to prevent string buzz and vibration).

Dropped tunings

[edit]

A dropped tuning is one of the categories of alternative tunings and the process starts with standard tuning and typically lowers the pitch of ("drops") one or more strings, almost always the lowest-pitched (E) string on the guitar.

The drop D tuning is common in electric guitar and heavy metal music.[22] The low E string is tuned down one whole step (to D) and the rest of the strings remain in standard tuning. This creates an "open power chord" (three-note fifth) with the low three strings (DAD).

Although the drop D tuning was introduced and developed by blues and classical guitarists, it is well known from its usage in contemporary heavy metal and hard rock bands. Early hard rock songs tuned in drop D include the Beatles' "Dear Prudence" (1968) and Led Zeppelin's "Moby Dick" (1969).[23] Tuning the lowest string one tone down, from E to D, allowed these musicians to lower the key of songs of their choosing and thus acquire a heavier and darker sound than in standard tuning, without needing to re-tune all six guitar strings (see: Open D tuning); this, plus the fact that it expands the guitar's range by two semitones (D and D♯), makes drop D a decidedly convenient tuning.

In the mid-1980s, three alternative rock bands, King's X, Soundgarden, and Melvins, influenced by Led Zeppelin and Black Sabbath, made extensive use of drop D tuning. While playing power chords (a chord that includes the prime, fifth, and octave) in standard tuning requires a player to use two or three fingers, drop D tuning needs just one, similar in technique to playing barre chords. This allowed them to use different methods of articulating power chords (legato for example) and more importantly, it allowed guitarists to change chords faster. This new technique of playing power chords introduced by these early grunge bands was a great influence on many artists, such as Rage Against the Machine and Tool. The same drop D tuning then became common practice among alternative metal acts such as the band Helmet, who used the tuning a great deal throughout their career and would later influence many alternative metal and nu metal bands.[24]

There is also a double drop D tuning, in which both E strings are tuned down a whole step (to D). The rest of the strings keep their original pitch.

Open tunings

[edit]
Ry Cooder plays the guitar.
Ry Cooder plays slide guitar with open tunings

An open tuning allows the guitarist to play a chord by strumming the open strings (no strings fretted).

Open tunings may be chordal or modal. In chordal open tunings, the open chord consists of at least three different pitch classes. In a given key, these are the root note, its 3rd and its 5th, and may include all the strings or a subset. The tuning is named for the base chord when played open, typically a major chord, and all similar chords in the chromatic scale are played by barring all strings across a single fret.[25] Open tunings are common in blues and folk music.[26] These tunings are frequently used in the playing of slide and lap-slide ("Hawaiian") guitars, and Hawaiian slack key music.[25][27] A musician who is well known for using open tuning in his music is Ry Cooder, who uses open tunings when playing the slide guitar.[26]

Most modern music uses equal temperament because it facilitates the ability to play the guitar in any key—as compared to just intonation, which favors certain keys, and makes the other keys sound less in tune.[28]

Repetitive open tunings are used for two classical non-Spanish guitars. For the English guitar, the open chord is C major (C–E–G–C–E–G);[29] for the Russian guitar, which has seven strings, it is G major (D–G–B–D–G–B–D).[30][31]

When the open strings constitute a minor chord, the open tuning may sometimes be called a cross-note tuning.

Major key tunings

[edit]
C's first 8 harmonics (C, C, G, C, E, G, B♭, C) Play simultaneouslyⓘ
Open D tuning
Open D tuning (listen)
Open G tuning (listen)

Major open tunings give a major chord with the open strings.

Open tunings
Major triad Repetitive Overtones Other

(often most popular)

Open A (A,C♯,E) A–C♯–E–A–C♯–E A–A–E–A–C♯–E E–A–C♯–E–A–E
open B (B,D♯, F♯) B–D♯–F♯–B–D♯–F♯ B–B–F♯–B–D♯–F♯ B–F♯–B–F♯–B–D♯
Open C (C,E,G) C–E–G–C–E–G C–C–G–C–E–G C–G–C–G–C–E
Open D (D,F♯,A) D–F♯–A–D–F♯–A D–D–A–D–F♯–A D–A–D–F♯–A–D
Open E (E,G♯,B) E–G♯–B–E–G♯–B E–E–B–E–G♯–B E–B–E–G♯–B–E
Open F (F,A,C) F–A–C–F–A–C F–F–C–F–A–C C–F–C–F–A–F
Open G (G,B,D) G–B–D–G–B–D G–G–D–G–B–D D–G–D–G–B-D

Open tunings often tune the lowest open note to C, D, or E and they often tune the highest open note to D or E; tuning down the open string from E to D or C reduces the risk of breaking strings, which is associated with tuning strings up to a higher pitch.

Open D

[edit]

The open D tuning (D–A–D–F♯–A–D), also called "Vestapol" tuning,[32] is a common open tuning used by European and American / Western guitarists working with alternative tunings. The Allman Brothers Band instrumental "Little Martha" used an open D tuning raised one half step, giving an open E♭ tuning with the same intervallic relationships as open D.[33]

Open C

[edit]

The English guitar used a repetitive open C tuning (with distinct open notes C–E–G–C–E–G) that approximated a major-thirds tuning.[29] This tuning is evident in William Ackerman's song "Townsend Shuffle", as well as by John Fahey for his tribute to Mississippi John Hurt.[34][35]

The C–C–G–C–E–G tuning uses some of the harmonic sequence (overtones) of the note C.[36][37] This overtone-series tuning was modified by Mick Ralphs, who used a high C note rather than the high G note for "Can't Get Enough" on Bad Company. Ralphs said, "It needs the open C to have that ring," and "it never really sounds right in standard tuning".[38]

Open G

[edit]

Mick Ralphs' open C tuning was originally an open G tuning, which listed the initial six overtones of the G note, namely G–G–D–G–B–D; Ralphs used this open G tuning for "Hey Hey" and while writing the demo of "Can't Get Enough".[38]

Open-G tuning usually refers to D–G–D–G–B–D. The open G tuning variant G–G–D–G–B–D was used by Joni Mitchell for "Electricity", "For the Roses", and "Hunter (The Good Samaritan)".[39] Truncating this tuning to G–D–G–B–D, for his five-string guitar, Keith Richards uses this overtones-tuning on the Rolling Stones's "Honky Tonk Women", "Brown Sugar" and "Start Me Up".[40]

The seven-string Russian guitar uses the open G tuning D–G–B–D–G–B–D, which contains mostly major and minor thirds.[41][31]

Creating any kind of open tuning

[edit]

Any kind of chordal tuning can be achieved, simply by using the notes in the chord and tuning the strings to those notes. For example, Asus4 has the notes A, D, E; by tuning the strings to only those notes, it creates a chordal Asus4 tuning.

Power chord (fifths) open tunings:[42]
A5 E–A–E–A–A–E
B5 F♯–B–F♯–B–B–F♯
C5 C–G–C–G–G–G
D5 D–A–D–A–D–D
E5 E–B–E–E–B–E
F5 F–C–C–C–C–F
G5 D–G–D–G–D–G

Bass players may omit the last two strings.

Minor or "cross-note" tunings

[edit]

Cross-note tunings include a minor third, so giving a minor chord with open strings. Fretting the minor-third string at the first fret produces a major-third, so allowing a one-finger fretting of a major chord.[43] By contrast, it is more difficult to fret a minor chord using an open major-chord tuning.

Bukka White and Skip James[44] are well known for using cross-note E-minor (E B E G B E) in their music, as in 'Hard Time Killin Floor Blues'.

Other open chordal tunings

[edit]

Some guitarists choose open tunings that use more complex chords, which gives them more available intervals on the open strings. C6, E6, E7, E6/9 and other such tunings are common among lap-steel players such as Hawaiian slack-key guitarists and country guitarists, and are also sometimes applied to the regular guitar by bottleneck (a slide repurposed from a glass bottle) players striving to emulate these styles. A common C6 tuning, for example, is C–E–G–A–C–E, which provides open major and minor thirds, open major and minor sixths, fifths, and octaves. By contrast, most open major or open minor tunings provide only octaves, fifths, and either a major third/sixth or a minor third/sixth—but not both. Don Helms of Hank Williams band favored C6 tuning; slack-key artist Henry Kaleialoha Allen uses a modified C6/7 (C6 tuning with a B♭ on the bottom); Harmon Davis favored E7 tuning; David Gilmour has used an open G6 tuning.

[edit]

Modal tunings are open tunings in which the open strings of the guitar do not produce a tertian (i.e., major or minor, or variants thereof) chord. The strings may be tuned to exclusively present a single interval (all fourths; all fifths; etc.) or they may be tuned to a non-tertian chord (unresolved suspensions such as E–A–B–E–A–E, for example). Modal open tunings may use only one or two pitch classes across all strings (as, for example, some metal guitarists who tune each string to either E or B, forming "power chords" of ambiguous major/minor tonality).

Popular modal tunings include D Modal (D-G-D-G-B-E) and C Modal (C-G-D-G-B-D).

Lowered (standard)

[edit]

Derived from standard EADGBE, all the strings are tuned lower by the same interval, thus providing the same chord positions transposed to a lower key. Lower tunings are popular among rock and heavy metal bands. The reason for tuning down below the standard pitch is usually either to accommodate a singer's vocal range or to get a deeper/heavier sound or pitch.[45] Common examples include:

E♭ tuning

[edit]

Rock guitarists (such as Jimi Hendrix on the songs "Voodoo Child (Slight Return)" and "Little Wing") occasionally tune all their strings down by one semitone to obtain E♭ tuning. This makes the strings easier to bend when playing and with standard fingering results in a lower key. It also facilitates E shape fingerings when playing with horn instruments.[46] Grunge band Nirvana also used this tuning extensively throughout their career, which they used occasionally on their album Bleach, and on every song from In Utero. Guns N' Roses guitarist Slash also commonly uses E♭ tuning on songs such as 'Sweet Child o' Mine' and 'Welcome to the Jungle'.

Many older bands use E♭ tuning during live shows to play songs originally recorded in standard tuning: this is usually to make it easier for the (often ageing) singer. An example is Led Zeppelin's 2007 reunion concert, where most of their set list was played in E♭.

D tuning

[edit]
D tuning

D Tuning, also called One Step Lower, Whole Step Down, Full Step or D Standard, is another alternative. Each string is lowered by a whole tone (two semitones) resulting in D-G-C-F-A-D. It is used mostly by heavy metal bands to achieve a heavier, deeper sound, and by blues guitarists, who use it to accommodate string bending and by 12-string guitar players to reduce the mechanical load on their instrument. Among musicians, Elliott Smith was known to use D tuning as his main tuning for his music. It was also used for several songs on the Velvet Underground's album The Velvet Underground & Nico. Metal band Megadeth has also been using this tuning since their album Dystopia to facilitate frontman Dave Mustaine's age and voice after his battle with throat cancer.

Regular tunings

[edit]
Regular tunings
For regular guitar-tunings, the distance between consecutive open strings is a constant musical-interval, measured by semitones on the chromatic circle. The chromatic circle lists the twelve notes of the octave.
Basic information
AliasesUniform tunings
Advanced information
AdvantagesSimplifies learning by beginners and improvisation by advanced guitarists
DisadvantagesReplicating the open chords ("cowboy chords") of standard tuning is difficult;
intermediate guitarists must relearn the fretboard and chords.
Regular tunings (semitones)
Trivial (0)
Minor thirds (3)
Major thirds (4)
All fourths (5)
Augmented fourths (6)
New standard (7, 3)
All fifths (7)
Minor sixths (8)
Guitar tunings
A fretboard with line-segments connecting the successive open string notes of the standard tuning
In the standard guitar tuning, one major-third interval is interjected amid four perfect-fourth intervals. In each regular tuning, all string successions have the same interval.
A C-major chord in four positions.
Chords can be shifted diagonally in major-thirds tuning and other regular tunings. In standard tuning, chords change their shape because of the irregular major-third G-B.
Main article: Regular tunings
See also: Interval (music)

In standard tuning, there is an interval of a major third between the second and third strings, and all the other intervals are fourths. This means chords cannot be shifted around the fretboard in the standard tuning E–A–D–G–B–E, which requires four chord-shapes for the major chords. There are separate chord-forms for chords having their root note on the third, fourth, fifth, and sixth strings.[47] These are called inversions.

In contrast, regular tunings have equal intervals between the strings,[48] and so they have symmetrical scales all along the fretboard. This makes it simpler to translate chords. For the regular tunings, chords may be moved diagonally around the fretboard. The diagonal movement of chords is especially simple for the regular tunings that are repetitive, in which case chords can be moved vertically: Chords can be moved three strings up (or down) in major-thirds tuning, and chords can be moved two strings up (or down) in augmented-fourths tuning. Regular tunings thus appeal to new guitarists and also to jazz-guitarists, whose improvisation is simplified by regular intervals.

On the other hand, five- and six-string open chords ("cowboy chords") are more difficult to play in a regular tuning than in standard tuning. Instructional literature uses standard tuning.[49] Traditionally a course begins with the hand in first position,[50] that is, with the left-hand covering frets 1–4.[51] Beginning players first learn open chords belonging to the major keys C, G, and D. Guitarists who play mainly open chords in these three major-keys and their relative minor-keys (Am, Em, Bm) may prefer standard tuning over many regular tunings,[52][53] On the other hand, minor-thirds tuning features many barre chords with repeated notes,[54] properties that appeal to acoustic-guitarists and beginners.

Major thirds and perfect fourths

[edit]
Main articles: Major thirds tuning and All fourths tuning

Standard tuning mixes a major third (M3) with its perfect fourths. Regular tunings that are based on either major thirds or perfect fourths are used, for example, in jazz.

All fourths tuning E2–A2–D3–G3–C4–F4 keeps the lowest four strings of standard tuning, changing the major third to a perfect fourth.[55][56] Jazz musician Stanley Jordan stated that all-fourths tuning "simplifies the fingerboard, making it logical".[57]

Major-thirds tuning (M3 tuning) is a regular tuning in which the musical intervals between successive strings are each major thirds, for example E2–G♯2–C3–E3–G♯3–C4.[58][59][60][61] Unlike all-fourths and all-fifths tuning, M3 tuning repeats its octave after three strings, which simplifies the learning of chords and improvisation.[49] This repetition provides the guitarist with many possibilities for fingering chords.[58][61] With six strings, major-thirds tuning has a smaller range than standard tuning; with seven strings, the major-thirds tuning covers the range of standard tuning on six strings.[59][60][61]

Major-thirds tunings require less hand-stretching than other tunings, because each M3 tuning packs the octave's twelve notes into four consecutive frets.[59][62] The major-third intervals let the guitarist play major chords and minor chords with two three consecutive fingers on two consecutive frets.[63]

Chord inversion is especially simple in major-thirds tuning. The guitarist can invert chords by raising one or two notes on three strings—playing the raised notes with the same finger as the original notes. In contrast, inverting triads in standard and all-fourths tuning requires three fingers on a span of four frets.[64] In standard tuning, the shape of an inversion depends on the involvement of the major-third between the 2nd and 3rd strings.[65]

All fifths and "new standard tuning"

[edit]
New standard tuning.
New Standard Tuning's open strings
Main articles: All fifths tuning and New standard tuning
C2–G2–D3–A3–E4–B4

All-fifths tuning is a tuning in intervals of perfect fifths like that of a mandolin or a violin; other names include "perfect fifths" and "fifths".[66] It has a wide range. Its implementation has been impossible with nylon strings and has been difficult with conventional steel strings. The high B makes the first string very taut, and consequently, a conventionally gauged string easily breaks.

Jazz guitarist Carl Kress used a variation of all-fifths tuning—with the bottom four strings in fifths, and the top two strings in thirds, resulting in B♭1–F2–C3–G3–B3–D4. This facilitated tenor banjo chord shapes on the bottom four strings and plectrum banjo chord shapes on the top four strings. Contemporary New York jazz-guitarist Marty Grosz uses this tuning.

All-fifths tuning has been approximated by the so-called "New Standard Tuning" (NST) of King Crimson's Robert Fripp, in which NST replaces all-fifths' high B4 with a high G4. To build chords, Fripp uses "perfect intervals in fourths, fifths and octaves", so avoiding minor thirds and especially major thirds,[67] which are slightly sharp in equal temperament tuning (in comparison to thirds in just intonation). It is a challenge to adapt conventional guitar-chords to new standard tuning, which is based on all-fifths tuning.[a] Some closely voiced jazz chords become impractical in NST and all-fifths tuning.[69]

Instrumental tunings

[edit]

These are tunings in which some or all strings are retuned to emulate the standard tuning of some other instrument, such as a lute, banjo, cittern, mandolin, etc. Many of these tunings overlap other categories, especially open and modal tunings.

Miscellaneous or "special" tunings

[edit]

This category includes everything that does not fit into any of the other categories, for example (but not limited to): tunings designated only for a particular piece; non-western intervals and modes; micro- or macro-tones (half sharps/flats, etc.); and "hybrid tunings" combining features of major alternate tuning categories – most commonly an open tuning with the lowest string dropped.[70]

See also

[edit]

Notes

[edit]

Citations

[edit]
  1. ^ Denyer (1992, pp. 68–69)
  2. ^ Phillips, Mark; Chappell, Jon (2 October 2012). Guitar For Dummies, with DVD. John Wiley & Sons. p. 17. ISBN 978-1-118-11554-1. Retrieved 29 January 2024.
  3. ^ a b Brown, J. (2020). "11 alternate tunings every guitarist should know".
  4. ^ "Online guitar tuner". TheGuitarLesson.com. Archived from the original on 24 August 2013. Retrieved 27 August 2013.
  5. ^ "Transposing Instruments – Music Theory Academy". 18 January 2013. Retrieved 24 September 2019.
  6. ^ "Standard guitar tunings and frequencies". TheGuitarTune. Retrieved 24 October 2025.
  7. ^ "TheGuitarTune – Online Guitar Tuner". TheGuitarTune. Retrieved 24 October 2025.
  8. ^ Weissman (2006, 'Off-the-wall tunings: A brief inventory' (Appendix A), pp. 95–96)
  9. ^ Caluda, Glenn (5 May 2014). "Open Tunings for Folk Guitar". The American Music Teacher. 63 (5): 54. Retrieved 1 November 2020.
  10. ^ Roche (2004, 'Categories of tunings', p. 153)
  11. ^ Roche (2004, pp. 153–156)
  12. ^ a b c d Denyer (1992, pp. 158–159)
  13. ^ Roche (2004, 'Open tunings', pp. 156–159)
  14. ^ Roche (2004, 'Cross-note tunings', p. 166)
  15. ^ a b Sethares (2011)
  16. ^ Roche (2004, 'Modal tunings', pp. 160–165)
  17. ^ Roche (2004, 'More radical tunings', p. 166)
  18. ^ "Notation". Joni Mitchell. Archived from the original on 15 March 2016. Retrieved 20 March 2016.
  19. ^ Faherty, Michael; Aaronson, Neil L. (1 October 2010). "Acoustical differences between treble guitar strings of different tension (i.e., gauge)". The Journal of the Acoustical Society of America. 128 (4): 2449. Bibcode:2010ASAJ..128.2449F. doi:10.1121/1.3508761. ISSN 0001-4966.
  20. ^ "TheGuitarTune – Online Guitar Tuner". TheGuitarTune. Retrieved 24 October 2025.
  21. ^ Roche (2004, 'String gauges and altered tunings', p. 169–170)
  22. ^ Bowcott, Nick (10 September 2008). "The doom generation: The art of playing heavy". Guitar World. ISSN 1045-6295. Retrieved 28 March 2019.
  23. ^ Long, Ben. "Drop‑D tuning". 123guitartuner.com. Archived from the original on 10 November 2017.
  24. ^ Tolinski, Brad (September 1994). "Heavy mental". Blue Cricket (bluecricket.com) (interview).
  25. ^ a b Sethares (2009, p. 16)
  26. ^ a b Denyer (1992, p. 158)
  27. ^ Denyer (1992, p. 160)
  28. ^ Gold, Jude (December 2005). "Just desserts: Steve Kimock shares the sweet sounds of justly tuned thirds and sevenths". Master class. Guitar Player.[dead link]
  29. ^ a b Annala & Mätlik (2007, p. 30)
  30. ^ Ophee, Matanya (ed.). 19th Century etudes for the Russian 7-string guitar in G Op. The Russian Collection. Vol. 9. Editions Orphee. PR.494028230. Archived from the original on 4 July 2013.
    – Ophee, Matanya (ed.). Selected Concert Works for the Russian 7-String Guitar in G open tuning. The Russian Collection. Vol. 10. Editions Orphee. PR.494028240. Archived from the original on 4 July 2013.
  31. ^ a b Timofeyev, Oleg V. (1999). The golden age of the Russian guitar: Repertoire, performance practice, and social function of the Russian seven-string guitar music, 1800–1850. Duke University, Department of Music. pp. 1–584. University Microfilms (UMI), Ann Arbor, Michigan, number 9928880.
  32. ^ Grossman (1972, p. 29)
  33. ^ Sethares (2009, pp. 20–21)
  34. ^ Sethares (2009, pp. 18–19)
  35. ^ Baughman, Steve (2004). "Open C". Mel Bay Beginning Open Tunings. Pacific, MO: Mel Bay Publications. pp. 8–14. ISBN 978-0-7866-7093-2.
  36. ^ "CCGCEG – open C tuning via harmonic overtones". Guitar Tunings Database (gtdb.org/tuner). CCGCEG guitar tuner. 2013. Archived from the original on 10 March 2013. Retrieved 20 February 2013.
  37. ^ Persichetti (1961, pp. 23–24)
  38. ^ a b Sharken, Lisa (15 May 2001). "Mick Ralphs: The rock 'N' roll fantasy continues". Vintage Guitar. Archived from the original on 8 February 2013. Retrieved 21 February 2013.
  39. ^ Mitchell, Joni. "List of all guitar and piano transcriptions". JoniMitchell.com. Archived from the original on 18 May 2015. Retrieved 22 February 2013.
  40. ^ Ellis, Andy (2005). "How to play like ... Keith Richards". Guitar Player. Retrieved 24 March 2013. [dead link]
  41. ^ Bellow (1970, p. 164)
  42. ^ "Piano chord chart". 8notes.com. Archived from the original on 14 June 2017. Retrieved 6 May 2018.
  43. ^ Sethares (2001, p. 16)
  44. ^ Cohen, Andy (22 March 2005). "Stefan Grossman- Country Blues Guitar in Open Tunings". Sing Out!. 49 (1): 152.
  45. ^ Starlin, Mark (5 May 2007). "Better Guitar - Article on Tuning Down A Half Step". Archived from the original on 5 May 2007. Retrieved 9 September 2023.
  46. ^ Serna, Desi (2015). Guitar Rhythm and Technique For Dummies. For Dummies. p. 80. ISBN 978-1-119-02287-9. Retrieved 25 January 2019. it's fairly common in rock music for guitarists to tune all of their strings down by a half-step
  47. ^ Denyer (1992, p. 119)
  48. ^ Sethares (2001, p. 52)
  49. ^ a b Kirkeby, Ole (1 March 2012). "Major thirds tuning". m3guitar.com. cited by Sethares (2011). Archived from the original on 11 April 2015. Retrieved 10 June 2012.
  50. ^ White, Mark (Fall 2005). "Reading skills: The guitarist's nemesis?". Berklee Today. Vol. 17, no. 2. Boston, MA: Berklee College of Music. ISSN 1052-3839.
  51. ^ Denyer (1992, p. 72)
  52. ^ Peterson (2002, p. 37)
  53. ^ Griewank (2010, p. 5)
  54. ^ Sethares (2001, pp. 54–55)
  55. ^ Sethares (2001, pp. 58–59)
  56. ^ Bianco, Bob (1987). Guitar in Fourths. New York City: Calliope Music. ISBN 0-9605912-2-2. OCLC 16526869.
  57. ^ Ferguson (1986, p. 76)
  58. ^ a b Sethares (2001, pp. 56)
  59. ^ a b c Peterson (2002, pp. 36–37)
  60. ^ a b Griewank (2010)
  61. ^ a b c Patt, Ralph (14 April 2008). "The major 3rd tuning". Ralph Patt's jazz web page. ralphpatt.com. cited by Sethares (2011). Retrieved 10 June 2012.
  62. ^ Griewank (2010, p. 9)
  63. ^ Griewank (2010, p. 2)
  64. ^ Griewank (2010, p. 10)
  65. ^ Denyer (1992, p. 121)
  66. ^ Sethares (2001, 'The mandoguitar tuning' 62–63)
  67. ^ Mulhern, Tom (January 1986). "On the discipline of craft and art: An interview with Robert Fripp". Guitar Player. Vol. 20. pp. 88–103. Archived from the original on 16 February 2015. Retrieved 8 January 2013.
  68. ^ Tamm (2003)
  69. ^ Sethares (2001, 'The mandoguitar tuning', pp. 62–63)
  70. ^ Whitehill, Dave; Alternate Tunings for Guitar; p. 5 ISBN 0793582199

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Guitar tunings

View on Grokipedia
from Grokipedia
Guitar tunings refer to the specific pitches assigned to the open strings of a guitar, enabling musicians to produce desired harmonies, facilitate certain playing techniques, and adapt the instrument to various musical genres. The standard tuning for a six-string guitar, known as EADGBE, consists of the notes E₂ (low E), A₂, D₃, G₃, B₃, and E₄ (high E) from the thickest to the thinnest string, a configuration that has been widely adopted since the for classical, acoustic, and electric guitars due to its balance of intervals—primarily perfect fourths between most strings, with a major third between the third and second strings. This standard evolved from earlier instruments like the Renaissance vihuela and , which featured four- to five-course tunings often involving re-entrant designs or bourdons ( or pairs) for richer chordal textures, such as the Spanish five-course guitar's common A-dd'-g-b-e' setup documented in 17th-century treatises. Alternate tunings, diverging from EADGBE, include open tunings where the open strings form a complete chord (e.g., Open D: D₂-A₂-D₃-F♯₃-A₃-D₄, popular in slide and ), dropped tunings like Drop D (D₂-A₂-D₃-G₃-B₃-E₄, lowering the low E for heavier bass response in rock), and regular tunings that equalize intervals across strings for symmetrical fretboard patterns. These variations, including modal tunings like used in Celtic and , expand creative possibilities by altering chord voicings, easing barre shapes, or emphasizing drones, and have been employed by composers and performers since the to suit specific compositions or regional traditions.

Fundamentals of Guitar Tuning

Definition and Importance

Guitar tuning refers to the process of adjusting the tension on each of the guitar to achieve specific pitches, typically defined relative to one another through standard musical intervals rather than absolute frequencies. This adjustment ensures that the open strings produce notes that align harmonically when played together or in combination with fretted positions. The primary goal is to establish consonance, where the vibrations of multiple strings reinforce rather than clash, allowing for clear chord voicings and melodic lines. The importance of tuning extends beyond mere accuracy to profoundly influence the instrument's sound, playability, and expressive potential. Proper tuning optimizes intonation—the uniformity of pitch across the fretboard—which prevents dissonance in higher registers and ensures reliable in ensemble settings. It also shapes the guitar's tone by balancing string tension, which affects sustain, brightness, and warmth; for example, higher tension from certain tunings can enhance projection, while lower tension facilitates smoother bends and slides in techniques like fingerstyle. Without precise tuning, even advanced techniques suffer, as misaligned intervals disrupt harmonic progressions and diminish the instrument's responsiveness. At its core, guitar tuning relies on fundamental intervals such as the (frequency ratio 43\frac{4}{3}), ( 54\frac{5}{4} ), and ( 32\frac{3}{2} ), which form the structural foundation for most configurations. These intervals determine the guitar's playable range, as stacking them expands the span of notes accessible without excessive , while also dictating string tension levels that impact both comfort and durability. Different tunings leverage these building blocks to suit diverse styles: versatile setups prioritize broad chord compatibility across genres, whereas resonant alternatives emphasize sympathetic vibrations for idiomatic fingerpicking or modal playing. acts as the baseline for this versatility.

Historical Overview

The guitar's tuning practices trace their roots to the Renaissance lute, which commonly featured fourths-based re-entrant tunings where the highest string ascended in pitch sequence after descending through the lower courses, allowing for a compact and idiomatic chord shapes. This re-entrant approach persisted into the early guitar's development during the 16th and 17th centuries, with four- and five-course instruments adapting similar schemes for plucked in European courts. By the , as the guitar transitioned toward a six-single-string configuration around the , tunings evolved toward more linear intervals of mostly perfect fourths, facilitating the instrument's growing role in domestic music-making and classical . The standardization of EADGBE tuning solidified in the early , with classical guitarists like composing and performing extensively in this configuration to exploit its balanced major-third interval between the G and B strings for fluid arpeggios and harmonies. This tuning's adoption accelerated in the late alongside the emergence of steel-string acoustic guitars, which required reinforced designs to handle the higher tension of metal strings introduced around the 1880s, enabling louder projection suited to folk and popular ensembles. By the turn of the , EADGBE had become the dominant setup for both classical nylon-string and emerging steel-string variants, providing versatile open chords and scale patterns across genres. In the 20th century, genre-specific innovations diversified tuning practices. Open tunings proliferated in the 1920s Delta blues, where , known as the "Father of the Delta Blues," employed configurations like Vestapol (open D) to achieve resonant slide techniques and percussive rhythms that defined the style's raw intensity. Dropped tunings gained traction in 1960s and 1970s rock, with Black Sabbath's down-tuning to C♯ on their 1971 album —a one-and-a-half-step detuning from standard—pioneering heavier, sludgier tones that influenced heavy metal's sonic foundation. Concurrently, jazz and experimental musicians explored regular tunings post-1950s; Ralph Patt developed major-thirds tuning in 1964 specifically for atonal improvisation, stacking equal major-third intervals (E-G♯-C-E-G♯-C) to enable symmetrical chord voicings inspired by Schoenberg and Coltrane. Folk-rock artist further advanced alternate tunings from the late 1960s, employing over 50 custom variations—often based on open E or D modal—to craft intricate, piano-like textures accommodating her post-polio hand limitations. Modern developments through 2025 have expanded tuning possibilities with extended-range instruments and digital aids. Seven- and eight-string guitars, popularized in metal and progressive genres since the , frequently use hybrid tunings like drop A (A-E-A-D-F♯-B-E for seven strings) to access sub-bass frequencies while retaining standard higher strings for melodic interplay. Software-assisted tools, such as apps like GuitarTuna and Fender Tune, have democratized custom tunings by enabling precise chromatic detection and user-defined setups, fostering experimentation in recording and live settings across indie, electronic, and fusion contexts.

Standard and Close Variations

Standard Tuning

Standard tuning, also known as E standard, is the most widely used configuration for the six-string guitar, with the open strings tuned to E2, A2, D3, G3, B3, and E4 from lowest to highest pitch. These notes correspond to specific frequencies when tuned to the international pitch standard of A4 = Hz: low E at 82.41 Hz, A at 110.00 Hz, D at 146.83 Hz, G at 196.00 Hz, B at 246.94 Hz, and high E at 329.63 Hz. The interval structure features four perfect fourths (E2 to A2, A2 to D3, D3 to G3, and B3 to E4) separated by a single (G3 to B3), which facilitates consistent fretboard patterns for scales and movable chord shapes. This tuning originated in the evolution from Renaissance-era instruments like the and , adapting to both classical nylon-string and steel-string guitars for broad compatibility in and technique. It balances ergonomic playability—allowing efficient left-hand positioning for common voicings—with harmonic versatility, as the fourth-based layout enables straightforward transposition of chords via barre techniques, such as the E-major barre shape that shifts to A, D, or other majors across the neck. The interval provides access to major chords without excessive string bending or muting challenges, optimizing intonation across the fretboard for both melodic lines and polyphonic playing. Standard tuning dominates genres like rock, pop, and , where its familiar shapes support everything from power chords in rock riffs (e.g., the E5 open chord) to arpeggiated scales in classical pieces like Bach's suites adapted for guitar. For instance, the in follows a repeating every four frets due to the fourth intervals, making it intuitive for in blues-inflected rock solos. To maintain accurate intonation in , especially on steel-string guitars, the bridge often requires compensation—slight offsets in string length at the (typically 1-3 mm longer for strings like low E, A, and D compared to plain strings). This adjustment accounts for the larger diameter of strings, which vibrate elliptically and thus sound sharp when fretted unless the effective scale length is extended, ensuring chords and notes up to the 12th remain in tune with open strings.

Lowered Standard Tunings

Lowered s transpose the intervals of standard E-A-D-G-B-E downward uniformly, typically by a half-step or whole-step, to produce a lower overall pitch while retaining the familiar chord shapes and scale patterns. This approach suits genres requiring a heavier or more relaxed tone, such as , and heavy metal, and allows guitarists to adapt to lower vocal registers without altering fingerings significantly. Compared to , these variations reduce string tension, enabling easier bends and , though they may necessitate setup adjustments like tweaks to optimize neck relief and intonation, especially on longer-scale instruments where compensation for lower pitches can challenge positioning. Eb tuning (Eb-Ab-Db-Gb-Bb-Eb), a half-step drop from standard, delivers a deeper, bluesier favored in and for its enhanced resonance and playability. Jimi employed this tuning on tracks like "All Along the Watchtower" to facilitate wider bends and align with his , as the slight tension reduction aids aggressive techniques without sacrificing tone. Similarly, Slash consistently uses Eb standard for material, citing its contribution to a thicker sound under . Transposing note-by-note from standard, the low E becomes Eb, A to Ab, D to Db, G to Gb, B to Bb, and high E to Eb, shifting all chords and solos down a for seamless adaptation. D tuning (D-G-C-F-A-D), a whole-step descent, amplifies low-end growl ideal for heavy metal riffs, providing greater heft in palm-muted chugs and power chords. For example, Metallica used D standard for certain tracks on their self-titled Black Album, such as "," at producer Bob Rock's suggestion, enhancing the aggressive edge of those songs while maintaining playability. This tuning requires heavier gauges—such as 10-52 or 11-52 sets—compared to standard 9-42 or 10-46, to counteract reduced tension and prevent floppy response, ensuring clear articulation across the fretboard. Note-for-note, it lowers the low E to D, A to G, D to C, G to F, B to A, and high E to D, dropping pitch by two semitones for a notably darker voicing than Eb. While beneficial for heaviness, the greater drop can introduce intonation challenges on longer-scale guitars (e.g., 25.5-inch), where low strings may sharp at higher frets if saddles lack sufficient forward adjustment, often resolved via professional setup.

String Gauges and Setup Considerations

String gauges, typically measured in thousandths of an inch (e.g., .010 for the high string), directly influence the tension and playability of guitar strings across various tunings. Standard gauge sets for electric guitars range from .010 to .046, providing balanced tension suitable for standard tuning and easier for leads, while medium sets from .011 to .052 offer greater sustain and clarity at the cost of increased finger pressure. For acoustic guitars, gauges are commonly .012 to .053, delivering a balance of volume and comfort, whereas custom sets like .011 to .052 prioritize playability for fingerstyle. Lighter gauges are recommended for lower tunings to maintain adequate tension and prevent fret buzz from excessive string slack, while heavier gauges help preserve tonal clarity and structural integrity in higher tunings by countering the quadratic increase in required tension. String tension can be calculated using the formula: T=UW×(2×L×F)2386.4T = \frac{UW \times (2 \times L \times F)^2}{386.4} where TT is tension in pounds, UWUW is the unit weight of the string in pounds per inch, LL is the scale length in inches, and FF is the frequency in Hertz corresponding to the pitch. This equation, derived from the physics of vibrating strings, allows musicians to select gauges that achieve desired tension levels; for instance, dropping the low E from 82.41 Hz to 61.74 Hz in Drop D requires lighter bass strings to avoid under-tension, while raising pitches demands heavier gauges to prevent excessive stress on the neck. Thicker gauges in dropped tunings enhance sustain due to increased mass but reduce ease of bending and speed, as higher tension resists deflection, impacting techniques like vibrato. Optimal setup requires adjustments tailored to gauge and tuning changes to ensure intonation, , and action. Nut slots must be filed wider for thicker strings to prevent binding during bends or slides, often using specialized files or self-lubricating materials like Graph Tech Tusq for frequent retuning. Truss rod tweaks, performed with the guitar tuned to the intended pitch, adjust neck —aiming for a slight forward bow (about .010 inch at the 8th fret)—to accommodate lower tensions in dropped setups, which may cause back-bow if not loosened counterclockwise. Action height at the 12th fret should be set between .060 and .090 inches for electrics or .080 to .100 for acoustics, raised for heavier gauges to avoid buzz from wider . Warnings include avoiding over-tightening the truss rod, which can warp the neck, and rechecking intonation after changes, as unadjusted setups in lowered tunings risk dead notes or poor sustain. Acoustic guitars demand balanced tension across heavier gauges to maximize and from the body, often requiring .012-.053 sets for even projection in alternate tunings. In contrast, electric guitars favor lighter gauges like .010-.046 to optimize pickup response and facilitate aggressive playing, with lower overall tension allowing easier without amplifying string noise through the amp. These differences necessitate distinct setups: acoustics prioritize and action for tonal balance, while electrics focus on nut and for magnetic string interaction.
Gauge TypeElectric ExampleAcoustic ExampleTension Role
Light.010-.046.012-.053Easier playability, lower tunings
Medium.011-.052.013-.056Balanced sustain, standard/higher tunings

Dropped Tunings

Drop D and Similar Dropped-Bass Tunings

Drop D tuning lowers the pitch of the sixth string (lowest E) by one whole step to D, resulting in the configuration D2-A2-D3-G3-B3-E4 from low to high. This adjustment creates a deeper bass response while preserving the standard intervals on the upper five strings. One primary advantage of Drop D is the facilitation of power chords using a single finger across the three lowest strings, such as barring the open D, A, and D strings for a D5 chord, which simplifies riffing and enhances playability in fast passages. It also adds a resonant low-end "growl" suitable for aggressive styles, while maintaining the familiar feel and chord shapes of standard tuning on the higher strings. This tuning extends the guitar's range downward without requiring a change in string gauges for occasional use, though heavier strings (e.g., .011-.052 sets) are recommended for sustained low tension to prevent excessive string flop. In rock and metal genres, Drop D enables palm-muted riffs and techniques that emphasize the lowered bass string's thump. Led Zeppelin employed it in tracks like "" to drive the instrumental's heavy groove, while Nirvana used it in "" to support the song's raw, alternative edge. Similar dropped-bass tunings involve lowering only the sixth string further for even heavier tones in detuned metal. Drop C# tuning sets the low string to C# (C#-A-D-G-B-E), and Drop Db to Db (Db-A-D-G-B-E), providing a darker, more ominous foundation for down-tuned riffs in detuned metal. These variations amplify the low-end growl but require careful setup to avoid intonation issues, as the reduced tension on the sixth string can cause the note at the 12th to play sharp. For optimal intonation in dropped-bass tunings, tune to pitch, then compare the open sixth to the 12th-fret and fretted note using a chromatic tuner; adjust the forward if sharp or backward if flat, and recheck after playing to account for settling. Heavier gauge help maintain even tension across the neck, reducing the need for frequent adjustments.

Extended Dropped Tunings

Extended dropped tunings build upon the foundational Drop D by lowering multiple strings to achieve an even greater emphasis on low-end frequencies, facilitating heavier riffs and power chords in genres like metal and . One prominent example is Drop C tuning (C-G-C-F-A-D), which transposes the entire Drop D configuration down a whole step, allowing guitarists to access deeper pitches while maintaining the ease of one-finger power chords on the lower three strings. This tuning is widely adopted in nu-metal and for its aggressive, resonant tone, as seen in tracks by bands such as and . Double Drop D (D-A-D-G-B-D) lowers both the lowest and highest strings by a whole step from , creating symmetrical intervals that enable drone-like open voicings and rich harmonic overtones, particularly suited to acoustic and folk styles but also adaptable for . This configuration promotes balanced tension across the strings and simplifies certain chord shapes, such as open , by aligning the outer strings. In extended-range instruments, 7-string guitars often employ dropped tunings like Drop A (A-E-A-D-G-B-E), which lowers the standard 7-string setup (B-E-A-D-G-B-E) by tuning the lowest string down a whole step while keeping the upper six in standard arrangement relative to their range. This is prevalent in and , with bands like utilizing it to explore complex, low-frequency rhythms without sacrificing playability. These tunings enhance low-frequency response, delivering a thicker, more aggressive sound that amplifies the guitar's presence in dense mixes. However, they reduce string tension compared to , necessitating heavier gauge strings (e.g., .011-.056 or thicker) to prevent floppiness and maintain proper intonation. Guitar setups for these tunings typically require adjustments to increase neck relief, higher action to mitigate fret buzz in the low registers, and possibly a nut slot modification to accommodate the thicker strings.

Open Tunings

Major Chord Open Tunings

Major chord open tunings configure the guitar strings to produce a major triad when strummed openly, creating a resonant, full-sounding chord that facilitates slide guitar, fingerpicking, and chordal accompaniment in folk, blues, and rock music. These tunings emphasize the root, third, and fifth intervals of a major chord across the strings, often with repeated notes for enhanced harmonic density, and are particularly suited for keys aligned with the open chord due to the ease of barring frets to form related chords. Open D tuning, notated from lowest to highest string as D-A-D-F♯-A-D, forms a triad in root position, providing a versatile foundation for melodies and chords with multiple D and A strings allowing for rich voicings. To achieve this from (E-A-D-G-B-E), lower the sixth string a whole step from E to D, keep the fifth string at A, keep the fourth at D, lower the third a half step from G to F♯, lower the second a whole step from B to A, and lower the first a whole step from E to D. This tuning has been employed by artists such as in "Big Yellow Taxi" for its folk introspection and the Allman Brothers Band in "Little Martha" for instrumental interplay, and it is commonly used in blues slide playing to exploit the open chord's sustain. Open G tuning, D-G-D-G-B-D, produces a G major chord when strummed open, with the second, third, and fourth strings matching for familiar barre chord shapes and the re-entrant high G (actually D an octave higher) enabling unique melodic extensions. From , lower the sixth string a whole step to D, lower the fifth a whole step to G, keep the fourth at D, keep the third at G, keep the second at B, and lower the first a whole step to D. Favored in rock and blues, it was notably used by —particularly —for songs like "" and "" to achieve a raw, driving sound, as well as by Led Zeppelin's in "Bron-Y-Aur Stomp" for acoustic folk-rock textures. The tuning's structure supports easy access to I, IV, and V chords via barring at the open position, fifth fret, and seventh fret, respectively, enhancing its utility for slide and rhythm work. Open C tuning, C-G-C-G-C-E, yields a C major chord with three C strings and two G strings promoting dense, resonant harmonies ideal for fingerstyle and experimental compositions. To tune from standard, lower all strings: sixth from E to C (major third down), fifth from A to G (whole step down), fourth from D to C (whole step down), third from G to G (unchanged), second from B to C (half step up), and first from E to E (unchanged). It has been utilized by acoustic guitarist in "Townsend Shuffle" for introspection and by folk pioneer John Fahey in "Requiem for " to evoke deep, atmospheric tones. Open A tuning, E-A-E-A-C♯-E, creates an triad suited for and slide techniques, with octave pairings on the outer strings adding timbral variety. From , keep the sixth string at E, keep the fifth at A, raise the fourth a whole step from D to E, raise the third a whole step from G to A, raise the second a minor third from B to C♯, and keep the first at E. This configuration supports bottleneck slide in lower registers and has historical roots in early blues traditions. These tunings differ from dropped variants by distributing the notes evenly across all strings for a complete open ring, fostering a brighter, more compared to bass-emphasized drops.

Minor and Cross-Note Open Tunings

Minor open tunings configure the guitar's strings to form a triad when strummed openly, producing a somber, tone that contrasts with the brighter of open tunings. These tunings facilitate fluid chord voicings and are especially valued in acoustic folk and for their emotional depth and compatibility with fingerstyle and slide techniques. A prominent example is Open E minor, tuned from low to high as E-B-E-G-B-E, which directly yields an chord and emphasizes the natural minor scale's characteristic flattened third. This tuning appears frequently in acoustic folk traditions, where it supports melodic lines and harmonic drones without requiring complex . Cross-note tunings, synonymous with open minor configurations, originated in early 20th-century and are ideal for , as the uniform intervals allow the slide to navigate melodies and harmonies over the sustained open-string root and fifth. In blues contexts, cross-note variants like Spanish tuning—often realized as Open G (D-G-D-G-B-D) to imply major or dominant structures—introduce tension through major thirds and potential flattened sevenths, fostering the genre's signature dissonance and resolve. Delta blues pioneer employed such cross-note approaches sparingly, notably in tracks evoking supernatural themes, to heighten emotional intensity in slide performances. Another key variant is Open (D-A-D-F-A-D), which forms a D minor triad and carries implications of added sevenths for richer progressions; it gained prominence through blues artist , whose haunting style showcased its potential for mournful, intricate fingerpicking patterns in pieces like "Devil Got My Woman." These tunings differ from major opens by prioritizing minor-key melancholy, enabling performers to explore modal ambiguities and seventh-chord extensions that enhance slide-induced overtones and rhythmic drive. Modal open tunings configure the guitar's open strings to resonate with notes from modal scales, such as Dorian, Lydian, or Mixolydian, rather than complete major or minor triads, allowing for ambiguous harmonic textures suited to ethnic, folk, and experimental genres. These tunings often incorporate intervals like perfect fourths and fifths alongside scale-specific thirds or sixths, facilitating drone-like fingerpicking and scale-based melodies that evoke ancient or non-Western musical traditions. Unlike diatonic triad-based opens, modal variants prioritize exploration over vertical chord , enabling subtle shifts between mode flavors without resolving to strong tonal centers. One prominent example is the Open D modal tuning, D-A-D-F-A-D, which forms a triad on the open strings while emphasizing the through the natural (F) and the potential for the raised sixth (B) in fretted positions. This configuration supports intricate fingerpicking patterns that exploit the tuning's modal ambiguity, such as alternating bass lines on the low D and A strings with melodic lines highlighting the F and subsequent scale degrees for a melancholic, unresolved quality. It is particularly favored in Celtic and for accompanying modal tunes, where the resonance mimics harp-like drones and allows seamless integration of Dorian-inflected melodies. In Hawaiian , modal open tunings often involve slackening strings to create major-mode resonances with ethnic inflections, as seen in the Taro Patch variant C-G-D-G-B-D, which aligns with the key of C and produces a suspended, flowing ideal for . This tuning, documented in traditional slack-key charts, enables thumb-picked bass patterns on the low C and G strings combined with fingerpicked harmonics on the upper B and D, evoking the islands' natural landscapes through its open fifths and intervals rather than a strict triad. The slackened setup reduces string tension for a softer, more percussive attack, distinguishing it from tighter Western opens and supporting improvisational explorations in major modes with modal extensions. Lydian and Mixolydian open tunings, such as Open F major (F-C-F-A-C-F) that facilitates Lydian mode, build on major triads but incorporate the characteristic raised fourth (B natural in F Lydian) via accessible fretting, fostering bright, ethereal sounds for experimental fingerstyle. Strumming the open strings yields an F major chord, but barring at the second fret introduces the Lydian #4, allowing patterns that alternate between the C and A bass notes with high-string melodies emphasizing the mode's augmented interval for an uplifting, ambiguous tension. These tunings differ from diatonic triads by avoiding the natural seventh, instead leveraging the open structure for quartal voicings and scalar runs that blur major-scale boundaries, commonly applied in ambient folk and world music contexts to create floating, non-hierarchical harmonies.

Regular Tunings

Fourths-Based Regular Tunings

Fourths-based regular tunings employ consistent intervals between adjacent strings, creating a symmetrical fretboard that simplifies and transposition. The standard example is all-fourths tuning (E₂-A₂-D₃-G₃-C₄-F₄), which modifies by raising the B string to C and the high E to F, thereby replacing the between G and B with a for uniform intervals across all strings. This eliminates the irregularity in 's hybrid structure (four fourths interrupted by one ), allowing for more consistent application of fourths-based in composition and . Notable users include jazz guitarist , who adopted all-fourths early in his career under the impression it was conventional, and modern players like Tom Quayle and Alex Hutchings, who leverage it for enhanced lead work and fusion styles. The tuning's primary benefits include uniform scale and chord shapes playable identically on every string pair, reducing the memorization burden by about two-thirds relative to standard tuning's asymmetrical patterns. Movable barre forms become fully interchangeable without capos, promoting fluid shifts and easier fretboard navigation for advanced techniques like two-hand tapping. In contrast to all-fourth's compact spacing, major-thirds tuning (E₂-G♯₃-C₄-E₄-G♯₅-C₆) uses consistent intervals for another form of regularity, enabling identical chord voicings across the but with notably higher string tension due to the narrower pitch spans. Developed by jazz guitarist Ralph Patt in 1964 for atonal improvisation inspired by artists like , it confines the full to a four-fret position, facilitating and scale runs without shifts. While offering equal shapes for chords and arpeggios, its elevated tension suits it better for 7- or 8-string extensions rather than standard 6-string setups.

Fifths-Based Regular Tunings

Fifths-based regular tunings adapt the intervals common to orchestral string instruments, such as the and , to the six-string guitar, providing uniform spacing between strings for consistent finger patterns across the fretboard. These tunings contrast with the standard E-A-D-G-B-E configuration, which mixes fourths and third, by emphasizing fifths to facilitate scalable melodic and harmonic structures. The all-fifths tuning, often notated as C2-G2-D3-A3-E4-B4 from lowest to highest string, aligns directly with the tuning of violin-family instruments extended to six strings, offering a broad tonal range that spans nearly four octaves. This setup enables any chord or scale shape to be transposed vertically up or down the neck or horizontally across strings without alteration, simplifying the execution of major, minor, and seventh chords through identical fingering patterns—for instance, a G major triad at the third fret mirrors a C major at the eighth fret. However, the high B4 on the uppermost string creates excessive tension on standard-scale guitars with typical string gauges, often necessitating lighter strings, a shorter scale length, or specialized setup to maintain playability and avoid intonation issues. To address the tension challenges of pure all-fifths while retaining most of its benefits, the (NST), proposed by guitarist in 1983, modifies the configuration to C2-G2-D3-A3-E4-G4, incorporating five perfect fifths and a concluding between the fifth and sixth strings. Fripp developed NST over several years, finalizing it during a period of intensive experimentation starting in 1981, and introduced it through his seminars beginning in 1984, where it became a foundational element for students relearning guitar fundamentals. This adjustment lowers the highest string's pitch relative to all-fifths, balancing the instrument's range with reduced tension for improved playability on conventional guitars, while preserving the uniform interval structure that supports easy transposition and modal improvisation—allowing scales like the to follow consistent one-fret-per-note patterns across strings. Despite these advantages, fifths-based tunings demand adaptation from habits, as the wider intervals can make close-voiced chords, such as minor seconds or certain jazz extensions, more difficult to finger without stretches, potentially leading players to develop new "stock" patterns over time. Fripp emphasized that NST encourages deliberate, non-habitual playing, fostering innovative harmonies and single-note lines by opening up intervals unavailable in . Post-1960s explorations of these tunings in classical and experimental contexts extended their application beyond folk and rock, integrating them into broader compositional frameworks for enhanced scalar mobility.

Specialized Tunings

Instrumental and Genre-Specific Tunings

Lap steel guitars, designed for horizontal playing with a slide or bar, employ specific tunings that facilitate smooth glissandi and chord voicings suited to genres like and Hawaiian music. A common tuning for styles is Open G (G B D G B D from low to high), which allows for shapes across the neck and emphasizes the resonant low G during slides. In contrast, the C6 tuning (C E G A C E) is prevalent in Hawaiian lap steel playing, providing a lush, extended harmony that supports melodic lines with added color and tension resolution through the A note. These tunings exploit the instrument's fixed position, enabling players to bar across strings for instant chords while the slide creates continuous pitch bends characteristic of the style. The 12-string guitar features a paired-string configuration that doubles the sonic richness through octave and unison courses, with the standard tuning arranged as E₂ (low, thicker) e₃ (octave higher, thinner), A₂ a₃, D₃ d₄, G₃ g₄, B₃ (unison) b₃, and E₄ (unison) e₄ from lowest course to highest. This setup, where the four lower courses include an pair (thinner string tuned higher) and the upper two are , produces a shimmering, chorus-like effect ideal for folk and rock accompaniment. The pairs on the bass strings enhance harmonic depth without requiring complex fingerings, making it a staple for artists seeking layered textures in ensemble settings. In genre-specific applications, tuning (D A D G A D) has become synonymous with Celtic and on the , offering drone strings and modal ambiguity that evoke ancient harp-like qualities. Popularized in Irish traditional contexts, it allows for intricate fingerstyle patterns over sustained open-string resonances, as heard in renditions of airs and reels. For , the guitar is generally tuned to standard E A D G B E at A= Hz, but performers frequently apply a capo at the first fret to transpose up a half step to F, yielding a sharper, more vibrant that amplifies the percussive techniques. This adjustment maintains familiar chord shapes while intensifying the instrument's projection in rhythmic, dance-oriented performances. French-Algerian guitarist Pierre Bensusan has elevated through personalized variations, treating it as his primary system for over four decades to achieve unparalleled acoustic complexity. His approach incorporates partial capos and selective string muting within the tuning to create asymmetrical voicings and polyrhythmic textures, expanding its modal palette for original compositions that blend , folk, and world influences. This methodical adaptation underscores DADGAD's versatility for solo guitar, where open strings serve as harmonic foundations for intricate melodic lines.

Experimental and Miscellaneous Tunings

Experimental and miscellaneous tunings on the guitar deviate significantly from standard EADGBE configurations, often employing irregular intervals, alternative intonation systems, or modified instruments to explore unconventional sonorities, enhance compositional flexibility, or challenge traditional harmonic structures. These tunings are typically used in contemporary, , rock, and contexts to achieve specific timbral effects or facilitate innovative playing techniques. Microtonal tunings represent a key experimental approach, dividing the into intervals smaller than the of 12-tone , often drawing from principles based on simple integer ratios from the harmonic series. To implement these on guitar, musicians and luthiers add extra frets—such as 11 additional frets between standard ones on electric guitars—allowing access to microtonal pitches while preserving playability. This modification enables precise frequency control, verified through tools like sound level meters and analysis, which reveal differences in between tempered and microtonal intervals. Composers like Ture Rangström Nielsen have utilized such setups in works including Guitar Opus 1 and Guitar Opus 2, where microtonal elements create blended textures, and etudes that alternate between tempered melodies and their microtonal counterparts on amplified classical or electric guitars. Unorthodox regular tunings experiment with consistent intervals across strings other than the fourths and thirds of , yielding symmetrical fretboard layouts and novel harmonic possibilities. For example, Ralph Patt's (EADG♯B E♯) arranges strings in ascending major thirds, improving for by aligning chord tones more directly under the fingers and reducing the stretch required for common progressions. Stanley Jordan's all-fourths tuning (EADGCF) extends this logic, creating uniform shapes for bar chords and scales that span the entire neck without the irregularity of the standard B string. More extreme variants include chromatic tunings like A A♯ B C C♯ D, which mimic keyboard layouts for linear pitch access; whole-tone tunings such as E F♯ G♯ A♯ B♯ C x, producing ambiguous, floating harmonies; and tritone-based setups (B F B F B F), emphasizing dissonance and tension for textural exploration. These have been systematically developed in compositional portfolios to assess intonation, , and ergonomic impacts, often using specific string gauges like D'Addario EXL110 for optimal tension. Miscellaneous tunings incorporate hybrid or genre-specific adaptations that blend elements from multiple traditions. The Nashville tuning (E₃ A₃ D₄ G₄ B₃ E₄), originally for recording multiple guitars as a single 12-string emulation, raises the bass strings an octave while keeping higher strings standard, offering a bright, extended range favored by artists like for its chime-like quality and easier high-note access. Drop variants of modal tunings, such as C♯ADGAD or BADGAD, lower the lowest string for heavier rock textures while retaining open-string drones. These configurations highlight the guitar's versatility in experimental settings, where tuning choices directly influence , harmonic resolution, and sonic innovation.

References

  1. https://online.berklee.edu/takenote/acoustic-guitar-techniques-to-move-past-beginner-level/
  2. https://mds.marshall.edu/cgi/viewcontent.cgi?article=1018&context=music_faculty
  3. https://sethares.engr.wisc.edu/alternatetunings/alltunings.pdf
  4. https://faculty.fiu.edu/~dolatad/wp-content/uploads/2019/08/The-Secret-of-Tuning-by-Harmonics.pdf
  5. https://nashville.mi.edu/beginners-guide-tuning-a-guitar/
  6. https://acousticguitar.com/why-isnt-my-acoustic-guitar-intonating-well/
  7. https://acousticguitar.com/tips-on-tone-john-leventhal-al-petteway-darrell-scott-12-more-pros-talk-acoustic-alchemy/
  8. https://www1.swarthmore.edu/NatSci/ceverba1/Class/e5_2006/MusicalScales.html
  9. https://www.guitarworld.com/lessons/the-ultimate-guitar-tuning-guide-expand-your-mind-with-these-advanced-tuning-techniques
  10. https://lutesocietyofamerica.org/about/instruments/guitar/
  11. https://earlymusicmuse.com/guitarhistory/
  12. https://www.earlyromanticguitar.com/erg/evolution.htm
  13. https://acousticguitar.com/video-lesson-giuliani-studies-for-steel-string-guitarists/
  14. https://www.premierguitar.com/tracking-the-steel-string-guitars-evolution-pt-1
  15. https://guitar.com/guides/essential-guide/all-about-acoustic-strings/
  16. https://acousticguitar.com/learn-to-play-guitar-like-charley-patton-the-father-of-the-delta-blues/
  17. https://www.guitarworld.com/lessons/black-sabbath-master-of-reality-guitar-lesson
  18. http://ralphpatt.com/Tune.html
  19. https://acousticguitar.com/the-guitar-tuning-odyssey-of-joni-mitchell/
  20. https://tunetempest.co.uk/joni-mitchells-guitar-tunings/
  21. https://strandbergguitars.com/en-US/magazine/7-and-8-string-guitar-tunings-with-strandberg-
  22. https://www.musicradar.com/news/best-guitar-tuner-apps
  23. https://gtdb.org/eadgbe
  24. https://www.ubisoft.com/en-gb/game/rocksmith/plus/news-updates/1GW9qPDxmiCKFo1VWhAMmQ/standard-guitar-tuning-quick-guide-to-guitar-tuning
  25. https://charlestonclassicalguitar.org/blog/2023/09/21/the-evolution-of-standard-tuning-for-guitar-from-antiquity-to-eadgbe/
  26. https://leftyfretz.com/why-is-standard-guitar-tuning-eadgbe/
  27. https://www.electrikjam.com/standard-tuning-guitar-explained-history/
  28. https://www.fender.com/articles/setup/alternate-guitar-tuning
  29. https://www.schoolofrock.com/resources/guitar/the-8-best-alternate-guitar-tunings
  30. https://www.gibson.com/blogs/gibson-gazette/tuning-harmony-the-road-to-mastering-acoustic-guitar-intonation
  31. https://www.classicalguitardelcamp.com/viewtopic.php?t=149851
  32. https://www.guitarworld.com/lessons/philip-sayce-blues-guitar-masterclass
  33. https://www.guitarworld.com/lessons/learn-slashs-rhythm-and-lead-approaches
  34. https://www.guitarworld.com/news/bob-rock-recalls-the-first-time-he-asked-metallica-to-tune-down-james-hetfield-looked-like-he-wanted-to-kill-me
  35. https://blog.ernieball.com/strings/what-string-gauges-should-you-be-playing/
  36. https://www.premierguitar.com/gear/diy-how-to-adjust-electric-guitar-intonation
  37. https://www.daddario.com/products/guitar/electric-guitar/
  38. https://www.daddario.com/the-lesson-room/guitar/acoustic-guitar/shop/everything-about-acoustic-strings/
  39. https://www.liutaiomottola.com/formulae/tension.htm
  40. https://acousticguitar.com/how-to-set-up-a-single-guitar-for-use-in-multiple-tunings/
  41. https://www.taylorguitars.com/support/maintenance/truss-rod-adjustments
  42. https://www.stringsandbeyond.com/blog/the-major-differences-between-acoustic-strings-and-electric-strings/
  43. https://www.fender.com/articles/setup/drop-d-tuning-on-guitar
  44. https://www.guitarworld.com/lessons/techniques/drop-d-tuning
  45. https://www.seymourduncan.com/blog/the-players-room/down-but-not-out-drop-tuning-like-a-pro
  46. https://www.gearnews.com/top-5-drop-d-riffs-from-muse-to-led-zeppelin/
  47. https://www.riffhard.com/drop-tuned-guitars-metal-ultimate-guide/
  48. https://www.fender.com/articles/setup/drop-c-tuning
  49. https://www.guitar-chord.org/articles/double-drop-d-tuning.html
  50. https://www.pickupmusic.com/tools/guitar-tuner
  51. https://www.fender.com/articles/setup/drop-a-tuning
  52. https://www.guitarworld.com/features/isaac-hale-knocked-loose-wont-go-before-youre-supposed-to
  53. https://www.sweetwater.com/insync/how-to-choose-electric-guitar-strings/
  54. https://www.sweetwater.com/sweetcare/articles/guitar-setup-how-much-string-buzz-is-normal/
  55. https://sethares.engr.wisc.edu/alternatetunings/opentunings.pdf
  56. https://acousticguitar.com/getting-started-with-alternate-tunings/
  57. https://www.americanbluesscene.com/2014/01/language-of-the-blues-cross-note/
  58. https://www.acousticguitar.com/exploring-the-open-tunings-of-robert-johnson-and-other-blues-guitarists/
  59. https://www.acousticguitar.com/ease-into-alternate-tuning-with-this-open-d-minor-blues-guitar-lesson/
  60. https://theguitarsocial.com/blogs/news/exploring-the-world-of-modal-tunings
  61. https://www.fender.com/articles/setup/open-d-minor-tuning
  62. https://theacousticguitarist.com/the-magic-of-open-d-minor-tuning-dadfad/
  63. https://www.georgewinston.com/userfiles/files/HSKBook4achart.pdf
  64. https://gtdb.org/fcfacf
  65. https://unlocktheguitar.net/blog/introduction-to-all-fourths-tuning-free-pdf-reference-guide/
  66. http://www.keith.bromley.name/sitebuildercontent/sitebuilderfiles/P4_Guitar.pdf
  67. https://www.tkinstruments.com/fifths_tuned_guitar_and_bass.htm
  68. https://www.moredarkthanshark.org/eno_int_gp-jan86.html
  69. https://papadafoe.com/lap-steel-tuning-database
  70. https://www.antiquitone.com/blogs/antiquitones-music-blog/find-the-perfect-tuning-for-the-beginner-lap-steel-guitarist
  71. https://www.guitarnoise.com/help/tuning-a-12-string-guitar/
  72. https://flypaper.soundfly.com/play/an-introduction-to-the-wide-world-of-alternate-12-string-guitar-tunings/
  73. https://blog.mcneelamusic.com/dadgad-the-irish-guitars-secret-weapon/
  74. https://aodancoyne.com/dadgad-chords/
  75. http://www.foroflamenco.com/tm.asp?m=75272&tmode=3&smode=1&p=86
  76. https://www.classicalguitardelcamp.com/viewtopic.php?t=128545
  77. https://www.premierguitar.com/pierre-bensusan-four-decades-of-dadgad
  78. https://www.musicradar.com/tuition/guitars/how-to-play-dadgad-like-pierre-bensusan-222924
  79. https://truefire.com/pierre-bensusan/dadgad-explorer-guitar-intuite/c944
  80. https://www.researchgate.net/publication/344476271_A_Portfolio_of_Unorthodox_Guitar_Tunings
  81. https://www.researchgate.net/publication/254585439_Microtonal_systems_and_guitar_composition
Add your contribution
Related Hubs
User Avatar
No comments yet.