provides the guitarist with many possibilities for fingering chords. 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. Major-thirds tunings require less hand-stretching than other tunings, because each M3 tuning packs the octave's twelve notes into four consecutive frets. The major-third intervals let the guitarist play major chords and minor chords with two three consecutive fingers on two consecutive frets. 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. In standard tuning, the shape of an inversion depends on the involvement of the major-third between the 2nd and 3rd strings. All fifths 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". 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 B1–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, 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, 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. Some closely voiced jazz chords become impractical in NST and all-fifths tuning. Instrumental tunings 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