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List of guitar tunings
This list of guitar tunings supplements the article guitar tunings. In particular, this list contains more examples of open and regular tunings, which are discussed in the article on guitar tunings. In addition, this list also notes dropped tunings.
- 1 Open
- 2 Regular tunings
- 3 Dropped
- 4 Shifted
- 5 Miscellaneous
- 6 Instrumental: Not based on six-string guitars
- 7 References
- 8 References
- 9 Further reading
- 10 External links
Major open-tunings give a major chord with the open strings.
Open A[edit]
- Alternatively: E-A-C♯-E-A-C♯
- Alternatively: A-E-A-E-A-C♯ (one step down from "Open B")
- "Slide" Open A: E-A-E-A-C♯-E (identical to "Open G" tuning but with every string raised one step or two frets).
Used by Jimmy Page on "In My Time of Dying"" and Jack White on "Seven Nation Army"
Open B[edit]
- Alternatively: F♯-B-D♯-F♯-B-D♯
Used by Nickelback on "Should've Listened", Devin Townsend in recent years, and Big Wreck on "Albatross".
Open C[edit]
This open C tuning was used by William Ackerman for his "Townsend Shuffle" and by John Fahey for his tribute to Mississippi John Hurt. This tuning is also commonly used by John Butler on his 12 string guitar. [1]
The English guitar used a repetitive open-C tuning that approximated a major-thirds tuning.[2]
This open-C tuning gives the initial harmonic series when a C-string is struck.[4] The C-C-G-C-E-G tuning uses the harmonic sequence (overtones) of the note C. When an open-note C-string is struck, its harmonic sequence begins with the notes (C,C,G,C,E,G,B♭,C).[3][4] This overtone-series tuning was modified by Mick Ralphs, who used a high C rather than the high G 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".[5]
Open D[edit]
Open-D tuning was used by Joni Mitchell for her "Big Yellow Taxi" and by The Allman Brothers for their "Little Martha".[6] Open-D tuning has been called Vestapol tuning.[7]
- Alternatively: D-A-D'-A'-D-D
This alternative Open D tuning (and its downtuned variations) is frequently used by Mark Tremonti guitarist for the bands Creed, Alterbridge and The Tremonti Project. It was also used by Keith Richards on "Jumpin' Jack Flash" and the Stone Roses in "Love Spreads".[citation needed]
Same as Open-D but tuned a half-step down. Used by Alice In Chains on the songs "Over Now", "Nothin' Song", and "Shame in You".
Open E[edit]
- E-B-E-G♯-B-E (use light gauge strings because three strings must be raised) (used by: Brian Jones on "No Expectations", "I Wanna Be Your Man"; Keith Richards on "Salt of the Earth", "Prodigal Son", "Gimme Shelter", "Jigsaw Puzzle", "Jumpin' Jack Flash", "You Can't Always Get What You Want" and by Bob Dylan on his 1975 album Blood on the Tracks)
Open F[edit]
- F-A-C-F-C-F (requires light gauge strings)
- Alternatively (without light gauge strings): C-F-C-F-A-C
C-F-C-F-A-C is the more common of the two. Used by
- Elizabeth Cotten on her song "When I Get Home"
- Led Zeppelin on "When the Levee Breaks"
- F-Sharp Tuning: F♯-A♯-C♯-F♯-C♯-F♯
- Alternative: C♯-F♯-C♯-F♯-A♯-C♯
F-F-C-F-A-C is also used by Dave Mason on "Only You Know and I Know"
Open G[edit]
- D-G-D-G-B-D (also known as Spanish Tuning or Chicago Tuning)
Open G was used in rock by Jimmy Page of Led Zeppelin in the songs "Dancing Days", "That's The Way" and "Black Country Woman", Keith Richards of The Rolling Stones as well as in Mississippi blues by Son House, Charley Patton, and Robert Johnson, and in "Fearless" by Pink Floyd.[8]
Listing the initial six harmonics of the G note, this open-G tuning was used by Joni Mitchell for "Electricity", "For the Roses", and "Hunter (The Good Samaritan)".[9] It was used by Mick Ralphs for "Hey Hey" on Bad Company's debut album.[5] and on the Meowtain song "Alleyway"
- Alternatively: G-B-D-G-B-D (slack-key guitar[10])
- Alternatively: C-G-D-G-B-D (used by Big Wreck on multiple songs, most notably "Inhale" and "Mistake").
- Dobro Open G: G-B-D-G-B-D (occasionally adopted for ordinary guitar, but requires lighter fifth and sixth strings).
- Russian-guitar Open G: The tuning of the Russian guitar
- is an open G tuning, approximately in major thirds.[11][12]
Minor: Cross-note[edit]
The following open-tunings use a minor third, and give a minor chord with open strings. To avoid the relatively cumbersome designation "open D minor", "open C minor", such tunings are sometimes called "cross-note tunings". The term also expresses the fact that, compared to Major chord open tunings, by fretting the lowered string at the first fret, it is possible to produce a major chord very easily.[13]
Cross-note or open E-minor was used by Bukka White and Skip James.[14]
Cross-note tunings include (low to high):
- Cross-note C: C-G-C-G-C-E♭
- C-C-G-C-E♭-G, a cross-note overtones tuning
- C-C-G-C-E♭-A♭ a cross-note overtones tuning that facilitates seventh chords.
- Cross-note D: D-A-D-F-A-D (used by John Fahey on the song "Red Pony")
- Cross-note E: E-B-E-G-B-E (used by ZZ Top on the song "Just Got Paid Today" and by Joey Eppard on the 3 song "Bramfatura")
- Cross-note F: F-A♭-C-F-C-F (extremely rare)
- Alternative: F-C-F-A♭-C-F (used by Albert Collins;[17] requires light gauges)
- Cross-note G: D-G-D-G-B♭-D
- Alternative Cross A: E-A-E-A-E-A. «Sitar A» - an alternative low guitar system. Recalls the sound of Indian sitar.
In modal tunings, the strings are tuned to form a chord which is not definitively minor or major. These tunings may facilitate very easy chords and unique sounds when the open strings are used as drones. Often these tunings form a suspended chord on the open strings. A well known user of modal tunings is Sonic Youth.
- Asus2: E-A-B-E-A-E
- Asus4: E-A-D-E-A-E
- B♭ modal: B♭-F-B♭-E♭-G-B♭ (used by Neil Young on his 1962 Martin D-28)
- Bsus4: B-F♯-B-E-F♯-B (DADGAD but 3 steps (1 1/2 note) lower, used by Sevendust on the song "Live Again" and on much of their Cold Day Memory album.)
- Csus2: C-G-C-G-C-D (first five strings equivalent to Double-C tuning for the banjo)
- Csus4+9: C-G-C-F-C-D (used by Martin Simpson in "We Are All Heroes")
- Csus4: C-G-C-G-C-F (used by John Renbourn on "Bouree I & II")[18]
- Low C: C-G-D-G-A-D
- Dsus2: D-A-D-E-A-D
- Dsus4: D-A-D-G-A-D (used by Jimmy Page of Led Zeppelin for a number of songs including "Kashmir" and "Black Mountain Side")
- Esus2: E-B-E-F♯-B-E (used by My Bloody Valentine in "Only Shallow" and by John Mayer in "Something's Missing," "Wherever You Go," "Heart So Heavy," and "In Your Atmosphere").
- Esus4: E-B-E-A-B-E
- E7sus4: E-A-D-E-B-E (used by Ed Sheeran in "Tenerife Sea.")
- Gsus2: D-G-D-G-A-D
- Gsus4: D-G-D-G-C-D (first five strings equivalent to Sawmill tuning for the banjo)
- Gsus4/4 / Orkney Tuning: C-G-D-G-C-D
- E modal: E-B-E-E-B-E (used in CSN's "Suite Judy Blue Eyes")
- E model alternative: E-E-B-B-B-B (used by Soundgarden on the songs "The Day I Tried To Live", "My Wave", and "Been Away Too Long")
Extended chord[edit]
In extended chord tunings, the open strings form a seventh, ninth, or eleventh chord.
- C6: C-A-C-G-C-E (used by Jimmy Page in "Bron-Yr-Aur", "Friends" and "Poor Tom")
- Cmaj11: C-F-C-G-B-E (used by Soundgarden on the song "4th of July")
- Open Page: D-G-C-G-C-D (used by Jimmy Page in "The Rain Song")
- Dmin7: D-A-D-F-A-C (used by Richie Havens in "From the Prison")[19]
- Emin7/C: C-G-D-G-B-E (used by Soundgarden on the songs "Mailman", and "Limo Wreck")
- G6: D-G-D-G-B-E (used by Soundgarden on the songs "Dusty", "Flesh Tendrils", "Never Named", and "Superunknown")
- Gmaj7: D-G-D-F♯-B-D
- Gadd4: D-G-D-G-B-C (used by Soundgarden on "Like Suicide")
Regular tunings[edit]
Major seconds[edit]
- c-d-e-f♯-g♯-a♯ or c♯-d♯-f-g-a-b
A compact tuning that fits within one octave and covers the chromatic scale between open strings and the first fret.
Minor thirds[edit]
- C-D♯-F♯-a-c-d♯
In the minor-thirds tuning, every interval between successive strings is a minor third. In the minor-thirds tuning beginning with C, the open strings contain the notes (c, d♯, f♯) of the diminished C chord.[21]
Major thirds[edit]
Major-thirds tuning is a regular tuning in which the musical intervals between successive strings are each major thirds.[22][23][24] Unlike all-fourths and all-fifths tuning, major-thirds tuning repeats its octave after three strings, which again simplifies the learning of chords and improvisation.[25]
Neighboring the standard tuning is the major-thirds tuning that has the open strings
A lower major-thirds tuning has the open strings
- C-E-G♯-c-e-g♯,
which "contains two octaves of a C augmented chord".[23]
All fourths[edit]
- E-A-d-g-c'-f'
This tuning is like that of the lowest four strings in standard tuning.[27][28] Jazz musician Stanley Jordan plays guitar in all-fourths tuning; he has stated that all-fourths tuning "simplifies the fingerboard, making it logical".[29]
Augmented fourths[edit]
- C-F♯-c-f♯-c'-f♯' or B-F-b-f-b'-f'
Between the all-fifths and all-fourths tunings are augmented-fourth tunings, which are also called "diminished-fifths" or "tritone" tunings.[30]
All fifths: "Mandoguitar"[edit]
- C-G-d-a-e'-b' or G'-D-A-e-b-f♯'
All-fifths tuning is a tuning in intervals of perfect fifths like that of a mandolin, cello or violin; other names include "perfect fifths" and "fifths".[31] It has a wide range, thus it requires an appropriate range of string gauges. A high b' sting is particularly thin and taut, which can be avoided by shifting the scale down by several steps or by a fifth.
New standard tuning[edit]
- C-G-d-a-e'-g'
All-fifths tuning has been approximated by the New Standard Tuning (NST) of King Crimson's Robert Fripp. It has a wider range than standard tuning, and its perfect-fifth intervals facilitate quartal and quintal harmony.
Ostrich tuning[edit]
- E-E-e-e-e'-e' or C-C-c-c-c'-c'
Ostrich tuning is a tuning where all strings are tuned to the same note over two or three octaves,[32] creating an intense, chorused drone and interesting fingering potential.
|This section needs additional citations for verification. (July 2012)
Drop tunings lower the sixth string, dropping the lowest E string of the standard tuning. Some drop tunings also lower the fifth string (A note in standard tuning). A drop one tuning lowers the pitch by one full step.
Some of these may require a baritone guitar due to the string tension required for extremely low notes. Others can be achieved using a capo and/or a partial capo.
|This section possibly contains original research. (March 2012)
What matters for the purposes of fingering is the relative relationship among the strings. For example, a dropped B tuning has all strings tuned to different notes than a standard tuning, but the strings have the same relationship to each other as a drop D tuning (where only the 6th string differs from standard tuning), and as a result the fingerings are nearly the same as for standard tuning.
Many of the terms below are ambiguous in whether only the 6th string is tuned down (a "drop N" tuning in the standard key of E), or all strings are tuned down, with the 6th tuned down more than the others (usually a "drop 1" tuning in some other key). For example, a "drop C tuning" usually refers to a "drop 1" tuning in the key of D, i.e. the 6th string is tuned down two whole steps and all others down one whole step. This is equivalent to a standard drop D tuning with all strings turned down a whole step. However, another "drop C tuning" is a "drop 2" tuning in the key of E, i.e. the 6th string is tuned down two whole steps and the others left alone. The former uses standard drop D fingerings, like all "drop 1" tunings, while the latter requires its own fingerings because of the different relative relationship of the 6th string to the others.
Other variant drop tunings tune two different strings differently. Tuning both the 1st and 6th strings down the same amount is common enough to warrant its own name (see "double-dropped tunings" below). However, there are other possibilities. For example, the Foo Fighters song "Stacked Actors" uses a tuning AADGBE with the 6th string retuned to form an octave on A. This involves dropping the 6th string down a perfect fifth. This is sometimes called a "dropped A" tuning because the lowest string is tuned down to A; but it is different from either the "dropped A" variant of drop D (drop 1 in the key of B) or the less common "dropped A" used by Black Label Society, Mastodon and Periphery (drop a 4th in the key of D).
|This section possibly contains original research. (July 2012)
Standard tuning but with the 6th string dropped one full step. Utilized by bands and/or artists: Radiohead, Avenged Sevenfold, Arrowmont, Machine Head, Kvelertak, Led Zeppelin on Moby Dick, Rage Against the Machine, Lordi, Prayer for Cleansing, Lamb of God, Underoath, Evanescence, Silverchair, Muse, Skillet, Helmet, Soundgarden, Metallica on songs "The Thing That Should Not Be," "All Nightmare Long", and "Just a Bullet Away", Rammstein, Fugazi in some songs, Tool in all their albums (except Prison Sex which is Drop B in standard variation Tuning and Parabol/Parabola which has E dropped to B and A dropped to E), Stone Temple Pilots in some songs, Audioslave, Filter, Foo Fighters, Incubus in some songs, Guns N Roses on some songs from Chinese Democracy, Black Veil Brides (on the song "Knives and Pens"), The Devil Wears Prada, Nirvana in some songs, Zakk Wylde in some of his projects, Quicksand, Alesana, and The Beatles on "Dear Prudence", Jorma Kaukonen of Jefferson Airplane uses Drop D on Embryonic Journey from the Surrealistic Pillow album.
- Drop C♯/Drop D♭ - C♯-G♯-C♯-F♯-A♯-D♯ / D♭-A♭-D♭-G♭-B♭-E♭
Same as Drop D, but every string is dropped one half step. Utilized by bands like Dir En Grey, Our Lady Peace, Your Demise, Oceana, Alter Bridge, Alice in Chains on some songs (like "Them Bones" or "We Die Young"), Chevelle (on Sci-Fi Crimes), Of Mice & Men, Deftones (on their Around the Fur album), Evanescence, Disturbed, Theory of a Deadman, Puddle of Mudd, Linkin Park, Skillet, Black Veil Brides, Steel Panther (on songs like "17 Girls In A Row" or "Gloryhole"), 10 Years, Black Stone Cherry, Truckfighters, Fireball Ministry, RED on End of Silence, Nirvana on their In Utero, Blew live performances, Been a Son, Something in the Way album and System of a Down on their Mezmerize/Hypnotize double album. Also used by Lamb of God somewhat on their album Wrath, and almost exclusively on their album Resolution. Avenged Sevenfold used this tuning on songs "Scream", "Almost Easy", "Hail to the King", "Requiem" and "Coming Home". Metallica use this tuning on their song "Minus Human" off S&M, on Dirty Window from their album St. Anger and live performances of "All Nightmare Long" and "Just A Bullet Away", As I Lay Dying have used this tuning on a few songs. Trivium used this tuning on their album In Waves. Van Halen's 1981 song "Unchained" used this tuning as well and is credited for popularizing the tuning. The Presidents of the United States of America use guitars tuned to this tuning with the top three strings removed, although on Freaked Out and Small, regular guitars were used.
One full step down from Drop D. Utilized by bands like A Day To Remember, Hatebreed, Biffy Clyro, Swallow the Sun in all their albums, The Ocean Collective in the Heliocentric / Anthropocentric albums, Slo Burn, Bullet for My Valentine, Evanescence, Children of Bodom, Avenged Sevenfold in "Radiant Eclipse", As I Lay Dying, Rammstein, August Burns Red, Mastodon (on some songs), Helmet (since the Size Matters era), Converge, System of a Down, What Great Fangs, Black Stone Cherry, Chimaira (since The Impossibility of Reason), P.O.D., Ill Niño, Killswitch Engage, Deftones (in their album White Pony), Disturbed, Gojira (mostly on The Way of All Flesh & L'Enfant Sauvage), Metallica's St. Anger album, (except for the songs "Invisible Kid" which is in Drop G#, "Dirty Window" which is in Drop C# and "The Unnamed Feeling" which is in Drop A#), Weissglut, Atreyu, Darkest Hour, Breaking Benjamin (on some songs), Mudvayne, Slipknot (on their demo Mate. Feed. Kill. Repeat.), Bring Me the Horizon (since Suicide Season), Zakk Wylde, Escape the Fate, and Skillet, Nirvana on their Bleach album and Arch Enemy.
- Drop B - B-F♯-B-E-G♯-C♯ / B-G♭-B-E-A♭-D♭
One and one half steps down from Drop D. This tuning is most often used by modern rock and heavy metal bands. Utilized by bands like A Day To Remember, Slayer (on Cast Down, Seven Faces and Payback from God Hates Us All, as well as few songs on Christ Illusion), Slipknot, Intronaut, Down, Machine Head (tuned 40 cents sharp), Demon Hunter, Slipknot, Chevelle, Origin, RED (on "Faceless"), Parkway Drive, Skillet (on much of Comatose), Bring Me The Horizon (up until Count Your Blessings), Sevendust, Chimaira (on a few songs from The Infection), Eye Empire, The Devil Wears Prada, Drowning Pool, The Veer Union, Comfort in the End, Attack Attack!, Mark Tremonti (on much of Full Circle and All I Was, and the songs "Coming Home" and "Home" from Blackbird and AB III, respectively), Nickelback on the song "Side of a Bullet" and occasionally Black Stone Cherry, Limp Bizkit, The Kills, and Sucioperro.
- Drop A♯/Drop B♭ - A♯-F-A♯-D♯-G-C / B♭-F-B♭-E♭-G-C
Two full steps down from Drop D. Utilized by bands such as A Day To Remember (on Mr Highway's Thinking About The End, Welcome To The Family, Violence (Enough is Enough), Life Lessons Learned the Hard Way and Sticks and Bricks), Hostility, Issues, Static-X, Bring Me the Horizon (since Suicide Season), In Flames, Sybreed, Metallica on their song "The Unnamed Feeling" off of "St. Anger" album, Hellyeah, Amaranthe, Breaking Benjamin (since Phobia), Parkway Drive, Otep, Spineshank, RED, Bury Your Dead, Eye Empire, Dirge Within, Remembering Never, and occasionally Chevelle, Darkest Hour, Evanescence, 9oz. of Nothing, For the Fallen Dreams, and Sevendust.
- Drop A - A-E-A-D-F♯-B / A-E-A-D-G♭-B
Two and one half steps down from Drop D. This tuning is most often used by death metal or deathcore musicians, such as Suicide Silence or Whitechapel (both use seven-string guitars and tune down the seventh string two half steps). Utilized by bands like Nile, Motograter, Thrice, Filter (on the songs "Columind" and "The Missing" from The Amalgamut and "Drug Boy" and "The Trouble with Angels" from the album of the same name), Dead by April, RED, Ill Niño (on Dead New World) and occasionally Slipknot, Crowbar, Amon Amarth, and Parkway Drive. Trapt uses this tuning on their songs "Hollow Man" and "Waiting".
- Drop A or D standard variation - A-G-C-F-A-D: Used by Mastodon on most of their first album (Remission) and on some songs on other albums. Also utilized by Periphery on the song "Zyglrox." Also used on occasion by Black Label Society, who previously tuned it a half-step up, which Alter Bridge also (and still) utilizes on some of their songs such as "Broken Wings", "Come to Life", "I Know it Hurts", "Still Remains", "Breath Again", and "All Hope is Gone." Creed, Architects, and Sevendust all use this tuning tuned a half-step down on their songs "Bread of Shame", "Early Grave", and "Home", respectively. Danish industrial metal band Raunchy used this tuning tuned one and a half-step down (F#-E-A-D F# B) on the song "Dim the Lights and Run" from the album A Discord Electric.
- Drop G♯/Drop A♭ - G♯-D♯-G♯-C♯-F-A♯ / A♭-E♭-A♭-D♭-F-B♭
Three full steps down from Drop D. Utilized by Dead by April (on some songs), Metallica in the song "Invisible Kid" from St. Anger, Damien Deadson, Love and Death, and The Acacia Strain. Staind also uses this tuning (but with the 2nd string tuned up 1/2 step to emulate a 7-string guitar), as well as several other modified variations of this, such as one in which the 5th string is also dropped from D# to C#.
- Drop G - G-D-G-C-E-A
Three and one half steps down from Drop D. Used by Bring Me The Horizon (on the songs "Death Breath" and "Sleep With One Eye Open" from Suicide Season), Attack Attack!, Baroness, The Acacia Strain (on some songs), Dead by April (on some songs) and In Flames (on the song "Transparent" from Reroute to Remain). Also Pantera and Whitechapel recorded Sandblasted Skin in G-G-C-F-A-D, Drop G variation with D standard.
- Drop F♯/Drop G♭ - F♯-C♯-F♯-B-D♯-G♯ / G♭-D♭-G♭-B-E♭-A♭
Four full steps down from Drop D, or two full steps up from Drop D1. Used by Disfiguring the Goddess. In the recording of Limp Bizkit's song "Nookie", Wes Borland used a custom 4 string baritone guitar tuned F#-F#-B-E. Also Slipknot recorded their song "Scissors" from their debut album in F#-F#-B-E-G#-C#, which is variation with Drop B.
- Drop F - F-C-F-A♯-D-G / F-C-F-B♭-D-G
Four and one half steps down from Drop D, or one and a half steps up from Drop D1. Used by Attack Attack! on "The Wretched" off "This Means War" and Northlane.
- Drop E - E-B-E-A-C♯-F♯ / E-B-E-A-D♭-G♭/
Five full steps down from Drop D, or one full step up from Drop D1.
- Drop D♯/Drop E♭ - D♯-A♯-D♯-G♯-C-F / E♭-B♭-E♭-A♭-C-F
Five and one half steps down from Drop D, or one half step up from Drop D1.
- Drop D1 - D-A-D-G-B-E
Six full steps (one octave) down from Drop D.
- Drop C♯1/Drop D♭1
Six full steps (one octave) down from Drop C♯/Drop D♭. C♯1 standard tuning was used by After the Burial on 9-string guitars on their songs "Pennyweight", "Neo Seoul" and "A Wolf Amongst Ravens".
- Drop C1
Six full steps (one octave) down from Drop C. Used by Within the Ruins on the album Phenomena.
- Drop C♯/Drop D♭ in standard variation - C♯-A-D-G-B-E
Standard tuning but with the 6th string lowered one and a half steps.
- Drop B in standard variation - B-A-D-G-B-E
Used in the song "Rusty Cage" by Soundgarden, "Cowboy Hat" by Nickelback, "Gasoline", "Shadow on the Sun", "Bring Em Back Alive" and "The Worm" by Audioslave and "Prison Sex" by Tool. Today is the Day have used it on every album since Temple of the Morning Star, Shining use it on most of their album Blackjazz, and Black Label Society uses this on some songs to emulate a seven-string. Used also by Silverchair in the songs "One Way Mule" and "The Lever" from their album "Diorama". It is also used by former A Bad Situation guitarist Danny Peet in several songs from his solo album released in 2013, and has hence been referred to as "Danny Tuning".
- Drop B-E - B-E-D-G-B-E
Standard tuning with the 6th and 5th string lowered two and a half steps down. Used by Tool in the song Parabola.
|This section needs additional citations for verification. (July 2012)
|This section possibly contains original research. (July 2012)
These tunings are derived by systematic increases or decreases to standard tuning.
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 standard pitch is usually either to accommodate a singer's vocal range or to get a deeper/heavier sound.[33]
- D♯/E♭ tuning - D♯-G♯-C♯-F♯-A♯-D♯ / E♭-A♭-D♭-G♭-B♭-E♭
Half a step down from standard tuning. Used by bands/artists such as: Jimi Hendrix, early Black Sabbath, Motörhead, Cannibal Corpse (Chris Barnes era), Nirvana, AFI, Rise Against, Failure, Weezer, Green Day, Kiss, The Hellacopters, Backyard Babies, Guns N' Roses, Neil Young, Van Halen, Brand New, Metallica (in live performances of standard tuned songs since 1995), AC/DC (in live performances of standard tuned songs since 2008), Slayer, Alcest, Rage Against The Machine, Stevie Ray Vaughan, Yngwie Malmsteen, Alice in Chains, The Smashing Pumpkins, The Killers, Relient K, Suede, RED on "Not Alone", Beach House, Third Day (on "I Can Feel It"), Die Ärzte (since "Geräusch") Skillet (on "A Little More"), and Vertical Horizon.
- D tuning - D-G-C-F-A-D
One full step down from standard tuning. Used by bands/artists such as Mötley Crüe, Nightwish, Pantera, P.O.D., Sepultura, Dimmu Borgir, Cradle of Filth, Watain, In Solitude, Agalloch, Inquisition, Drive-By Truckers, Soulfly Children of Bodom, Symphony X, Oceansize, Death, Decrepit Birth, Dream Theater, All That Remains, Exodus, Gojira, Shadows Fall, Mastodon, Lordi, and Kreator. Used in a vast majority of songs by musician Elliott Smith. Also used in Nirvana's songs "Come As You Are", "Lithium" and "Drain You", by Metallica in their songs "Sad but True", "Devil's Dance", and on some of their covers on The $5.98 E.P.: Garage Days Re-Revisited ("The Small Hours" and "Crash Course in Brain Surgery"); by Bullet for My Valentine in several songs on Scream Aim Fire, by blink-182 in "Adam's Song", in Doug Anthony All Stars live performances and by John Fogerty.
- C♯/D♭ tuning - C♯-F♯-B-E-G♯-C♯ / D♭-G♭-B-E-A♭-D♭
One and a half steps down. Famously used by Black Sabbath's Tony Iommi in the 1970s, as well as Carrie Brownstein, Dimebag Darrell of Pantera, Eyehategod, Architects, Dying Fetus, Anata, Corin Tucker of Sleater-Kinney, Between the Buried and Me, Down, All That Remains, Bolt Thrower, Pete Loeffler of Chevelle (on Wonder What's Next), Billy Howerdel of A Perfect Circle and Ashes Divide, Wes Borland of Limp Bizkit, Slayer (on Gemini from Undisputed Attitude and God Hates Us All), and Stone Sour, as well as former guitarist Jim Root's other band Slipknot on the song "Snuff". Also used by Kyuss on songs "Isolation" and "Space Cadet". Used by Metallica on the song "Bad Seed" from the album Reload. Also used on Considered Dead and The Erosion of Sanity by Canadian technical death metal band Gorguts.
- C tuning - C-F-B♭-E♭-G-C / C-F-A♯-D♯-G-C
Two full steps down from normal tuning. Used by bands such as Queens of the Stone Age, Kyuss, Sleep, Spiritual Beggars, In Flames (until Clayman), The Black Dahlia Murder, Architects, First Signs of Frost, Dismember, Dethklok, Immolation, High On Fire, Cold, Dream Theater, Arch Enemy (since the Angela Gossow era), Entombed, Amaranthe, Nails, Cataract, and The Smashing Pumpkins.
- B tuning - B-E-A-D-G♭-B / B-E-A-D-F♯-B
Two and a half steps down from standard tuning. Used in Swedish death metal by bands such as At The Gates, Dismember, Edge of Sanity, Entombed, Amon Amarth, and Arch Enemy (during the Johan Liiva era), as well as Carcass, Type O Negative, Seventh Void, Fleshgod Apocalypse, Sepultura, Five Finger Death Punch, Soulfly, Within Temptation, Triptykon and guitarist Kirk Windstein of Crowbar and Kingdom of Sorrow.
- A♯/B♭ tuning - A♯-D♯-G♯-C♯-F-A♯ / B♭-E♭-A♭-D♭-F-B♭
Three full steps from standard tuning. Used by Dream Theater, Adema, Cannibal Corpse (George Fisher era), Jeff Hanneman of Slayer (on War Zone and Here Comes the Pain from God Hates Us All. Kerry King used a 7-string for those songs), and American Head Charge.
- A tuning - A-D-G-C-E-A
Three and a half steps down from standard tuning. Used by Soulfly, THEMES, Taproot, Xibalba, Yob, Bolt Thrower (on Realm of Chaos album), Dystopia, and Slipknot (on the song "Iowa"). Also used on the songs "These Walls" by Dream Theater.
- G♯/A♭ tuning - G♯-C♯-F♯-B-D♯-G♯ / A♭-D♭-G♭-B-E♭-A♭
Four full steps down from standard tuning. Utilized by Cannibal Corpse (in some songs) and Mortician.
- G tuning - G-C-F-A♯-D-G / G-C-F-B♭-D-G
Four and a half steps down from standard tuning. Used by the Doom Metal band Warhorse.
- F♯/G♭ tuning - F♯-B-E-A-C♯-F♯ / G♭-B-E-A-D♭-G♭
Five full steps from standard tuning. Used by the Death Metal band Disfiguring The Goddess
- F tuning - F-A♯-D♯-G♯-C-F / F-B♭-E♭-A♭-C-F
Five and one half steps down from standard tuning. Used by the deathgrind band Maruta.
- Octave Tuning - E-A-D-G-B-E
Six full steps (one octave) down from standard tuning. The Low E has the same fundamental frequency as a bass guitar, essentially the same standard tuning as a bass guitar but with a high B and E added to mimic a regular guitar. This tuning is used on the Fender Bass VI and similar instruments. Notably used by John Lennon with The Beatles, Robert Smith of The Cure and Jack Bruce of Cream. In his early days with Ronnie Hawkins, future Band bassist Rick Danko was also seen with a Fender Bass VI.
From standard EADGBE, all the strings are tuned up by the same interval. String tension will be higher. Typically requires thinner gauge strings, particularly the first string which could be as thin as six thousandths of an inch (about the thickness of a single human hair). A capo is typically preferred over these tunings, as they do not increase neck strain, etc. The advantage of these tunings is that they allow an extended upper note range versus a capo used with standard tuning which limits the number of notes that can be played; in some cases, instruo B♭ or E♭ (such as saxophones, which were frequently encountered in early rock and roll music) are more easily played when the accompanying guitar plays chords in the higher tuning. If standard gauge strings are used, the result is often a "brighter" or "tighter" sound; this was a common practice for some bluegrass bands in the 1950s, notably Flatt & Scruggs.
- F tuning - F-A♯-D♯-G♯-C-F / F-B♭-E♭-A♭-C-F
Half a step up from standard tuning. (used in most of Johnny Cash's music, for Love Buzz on Nirvana's Bleach album - apparently by mistake (according to Come As You Are - Michael Azerrad), 3 Doors Down on Here Without You (a capo was probably used), Vektor, Soundgarden's Black Hole Sun, Nickelback on their song "When We Stand Together", Burzum on Hvis lyset tar oss album.
- F♯/G♭ tuning - F♯-B-E-A-C♯-F♯ / G♭-B-E-A-D♭-G♭
One full step up from standard. Primary tuning for the band The Chameleons. Johnny Marr also used this tuning extensively with The Smiths; bassist Andy Rourke remained in standard, however, even when Marr was playing in F#.
- G tuning also known as Terz tuning (sometimes spelled "Tierce", "Third", or "Tertz", all of which are acceptable) - G-C-F-A♯-D-G / G-C-F-B♭-D-G
One and one half steps up from standard.
- G♯/A♭ tuning - G♯-C♯-F♯-B-D♯-G♯ / A♭-D♭-G♭-B-E♭-A♭
Two full steps up from standard.
- A tuning - A-D-G-C-E-A
Two and one half steps up from standard. This is the standard tuning for the Lapstick travel guitar.
Three full steps up from standard.
Similar to the dropped tunings, except that both the 1st and 6th strings are dropped one full step.
- Double Drop D - D-A-D-G-B-D
Standard tuning but with the 1st and 6th strings dropped one full step. Favored by Neil Young. Has also been used by Lamb of God on some of their earlier songs.
- Double Drop C♯/Drop D♭ - C♯-G♯-C♯-F♯-A♯-C♯ / D♭-A♭-D♭-G♭-B♭-D♭/
Same as [Double] Drop D, but every string is dropped one half step. Used by the acoustic rock band Days of the New. Also used by Our Lady Peace on the song "Starseed".
- Double Drop C - C-G-C-F-A-C
One full step down from Drop D. Used by Sevendust on the song "Seasons".
- Double Drop B - B-F♯-B-E-G♯-B / B-G♭-B-E-A♭-B/
One and one half steps down from Drop D.
- Double Drop A♯/Drop B♭ - A♯-F-A♯-D♯-G-A♯ / B♭-F-B♭-E♭-G-B♭
Two full steps down from Drop D.
- Double Drop A - A-E-A-D-F♯-A / A-E-A-D-G♭-A
Two and one half steps down from Drop D.
- Double Drop G♯/Drop A♭ - G♯-D♯-G♯-C♯-F-G♯ / A♭-E♭-A♭-D♭-F-A♭
Three full steps down from Drop D.
- Double Drop G - G-D-G-C-E-G
Three and one half steps down from Drop D.
- Double Drop F♯/Drop G♭ - F♯-C♯-F♯-B-D♯-F♯ / G♭-D♭-G♭-B-E♭-G♭
Four full steps down from Drop D, or two full steps up from Drop D1.
- Double Drop F - F-C-F-A♯-D-F / F-C-F-B♭-D-F
Four and one half steps down from Drop D, or one and a half steps up from Drop D1.
- Double Drop E - E-B-E-A-C♯-E / E-B-E-A-D♭-E
Five full steps down from Drop D, or one full step up from Drop D1.
- Double Drop D♯/Double Drop E♭ - D♯-A♯-D♯-G♯-C-D♯ / E♭-B♭-E♭-A♭-C-E♭
Five and one half steps down from Drop D, or one half step up from Drop D1.
- Double Drop D1 Tuning - D-A-D-G-B-D
Six full steps (one octave) down from Double Drop D.
|This section needs additional citations for verification. (July 2012)
|This section possibly contains original research. (July 2012)
- D-A-d-g-a-d'
Often vocalized as "Dad-Gad", DADGAD is common in Celtic music. In rock music, has been used in Led Zeppelin's "Kashmir".[8] Pierre Bensusan is another noted exponent of this tuning. The post-metal group Russian Circles also employ this tuning, and also plays it in the form of all the notes becoming a half-step down: D♭-A♭-d♭-g♭-a♭-d♭'.
Three down-tuned variations are used by the band Sevendust: A drop C variation, or C-G-c-f-g-c'. (used on the song "Unraveling"), a drop B variation, or B'-F♯-B-e-f♯-b, and a drop A# variation, or A♯'-F-A♯-d♯-f-a♯. Neighboring tunings D-A-d-e-a-e' and C-G-c-d-g-a have been used by Martin Carthy. Also D-A-d-a-a-d', was used by Dave Wakeling on the English Beat's 1983 "Save It For Later".
- D-A-d-d-a-d'
Nicknamed - "Papa-Papa". DADDAD is common in folk music (Irish, Scottish), and for the execution of a rhythm guitar in "heavy" (alternative music) on 6 th on the third string at the same time. To reach the tuning from DADGAD, Open D or Open D Minor, the G string is dropped to D so that the 3rd and 4th strings are tuned to the same pitch. DADDAD tuning is sometimes used on Dobro guitars for rock and blues. Notable users of this tuning include Billy McLaughlin, John Butler, and João Silva, guitarist of the well-acclaimed Portuguese punk band, LEAF.
Cello/Standard guitar[edit]
- C-G-d-a-b-e'
Essentially a cello tuning with the deeper four strings in fifths and the two highest strings in standard guitar tuning. Used by Foo Fighters on the song "Weenie Beenie"
"Karnivool" tuning[edit]
- B-F♯-b-g-b-e'
Hybrid tuning between drop B-tuning and E-standard. Used by the band Karnivool for many of their songs.
- E-A-d'-g-b-e'
Mi-composé is a tuning commonly used for rhythm guitar in African popular music forms such as soukous and makossa.[34] It is similar to the standard guitar tuning, except that the d string is raised an entire octave. This is accomplished by replacing the d string with an e' string and tuning it to d'.
"Iris" Tuning[edit]
- B-D-D-D-d-d
Tuning used by Johnny Rzeznik of the Goo Goo Dolls on the song "Iris".
E-A-C#-F#-A-C# ("Sleeping Ute")[edit]
Tuning used by Grizzly Bear guitarist Daniel Rossen in Sleeping Ute, the opening song of their album Shields.
Microtonal tuning[edit]
The open strings of a guitar can be tuned to microtonal intervals, however microtonal scales cannot be played on a conventional guitar because the frets only allow for a chromatic scale of twelve equally spaced pitches, each a semitone apart. It is possible to play microtonal scales on a fretless guitar, to convert a fretted guitar into a fretless, or to make a custom neck with a specific microtonal fret spacing.
Guitars can also be refretted to a microtonal scale.[35] On many refretted microtonal guitars, the frets are split, so that the tuning of each string is independent from the others. To enable an adjustable microtonal tuning, there exist guitars with frets that can be moved across the fingerboard.[36][37]
Extended techniques such as the 3rd bridge technique, slide guitar and prepared guitar techniques can be used to produce microtonality without severe modification to the instrument.
Instrumental: Not based on six-string guitars[edit]
In his on-line guide to alternative tunings for six-string guitars, William Sethares mentions several that are inspired by instruments other than guitars, for example, balalaika (E-A-D-E-E-A), cittern C-G-C-G-C-G, and Dobro G-B-D-G-B-D.
Other tunings are inspired by guitars that do not have six strings.
|This section needs additional citations for verification. (July 2012)
|This section possibly contains original research. (July 2012)
Five string guitars are common in Brazil, where they are known as guitarra baiana and are typically tuned in 5ths. Schecter Guitar Research produced a production model 5 string guitar called the Celloblaster in 1998.[38] A five-string tuning may be necessary in a pinch when a string breaks on a standard six-string (usually the high E) and no replacement is immediately available.
Some basic five-string tunings include:
- Standard - E-A-d-g-b
The standard tuning, without the top E string attached. Alternative variants are easy from this tuning, but because several chords inherently omit the lowest string, it may leave some chords relatively thin or incomplete with the top string missing (the D chord, for instance, must be fretted 5-4-3-2-3 to include F#, the tone a major third above D).
- High C - E-A-d-g-c'
Standard tuning with the B tuned a half step higher to C to emulate a 6 string bass guitar, minus the low B. This is an all fourths tuning.
- Celloblaster or Guitello - C-G-d-a-e'
An all fifths tuning as used on cello or mandolin, extended to five strings. Used by the noise-rock band Lightning Bolt, and by Jeffrey McFarland-Johnson on his Bach Cello Suites album.[39]
- Baritone - E-A-d-f♯-b
In this tuning, the fourth (G) string is lowered a half-step, thus recreating the intervals between the top five strings, lowered a perfect fourth. Though chords can easily and more fully be played from this tuning, it sometimes results in awkward inversions, a relatively minor problem if the five-string is played in an ensemble with a bass guitar.
- E-A-c♯-f♯-b
Simulates the top four strings, followed by the second-from-bottom string on top, raised a whole step (the F♯ representing both the top and bottom E). It makes playing in the key of A major easier, though chord fingerings have to be altered unless the strings are rearranged to F♯-B-E-A-C♯.
- Open G tuning - G-d-g-b-d'
Some slide/bottleneck guitarists omit the bottom E string when playing in open G to have the root note as the tonic. This tuning is used by Keith Richards.
- Open E♭5 tuning - E♭-B♭-e♭-b♭-e♭'
This is achieved by removing the fourth (G) string, tuning both Es and the B down a half step, and the A and D strings up a half-step. This creates a five-string power chord.
Similar to five-string bass guitar tuning, seven-string tuning allows for the extra string a fourth lower than the original sixth string. This allows for the note range of B standard tuning without transposing E standard guitar chords down two and a half steps down. Baritone 7-string guitars are available which features a longer scale-length allowing it to be tuned to a lower range.
- Standard Tuning - B'-E-A-d-g-b-e' Standard seven-string tuning.
- Drop A 7 String Tuning - A'-E-A-d-g-b-e' Standard seven-string tuning with low B dropped to A.
- Standard Choro Tuning - C-E-A-d-g-b-e'
Standard seven-string tuning for Brazilian choro.
- Drop D 7 string Tuning - B'-D-A-d-g-b-e'
Standard seven-string tuning with the low E dropped to D, which results in a minor 3rd interval between the two lowest strings of B and D. Used by Ed Sloan of Crossfade.
- Drop D & A 7 string Tuning - A'-D-A-d-g-b-e'
Standard seven-string tuning with a Dropped D and A from E and B. Used by Dir En Grey
- Thirds Tuning - E-G♯-c-e-g♯-c'-e'
Same range as standard six-string. Allows over two full chromatic octaves without changing position, slides or bends.
- All Fourths Tuning - B'-E-A-d-g-c'-f'
Expands the major third between the second and third strings, extending range a half step higher.
- Russian Tuning - D-G-B-D-g-b-d - 6-string Open G tuning with additional 5th B-string. Was a standard tuning for classic 7-string guitars in Russia in XIX-XX centuries.
- A♯/B♭ tuning - A♯'-D♯-G♯-c♯-f♯ -a♯-d♯' / B♭'-E♭-A♭-d♭-g♭ -b♭-e♭'
Half a step down from standard, used by bands such as Emmure, TesseracT and Meshuggah in their earlier days, Jeff Loomis (now formerly of Nevermore), Cannibal Corpse mid-career, Hypocrisy on End of Disclosure, Adema, American Head Charge, Sonata Arctica in their album Unia, Mushroomhead, Korn in Neidermeyer's Mind demo album, Chad Kroeger of Nickelback on the song "This Means War" (Ryan Peake used a six-string), and Slayer (on War Zone and Here Comes the Pain from God Hates Us All).
- A tuning - A'-D-G-c-f-a-d'
A full step down from standard. Used by bands such as Paradise Lost, Korn, Dream Theater (on "False Awakening Suite" and "Illumination Theory" from the self-titled album), Emmure and Fear Factory
- G♯/A♭ tuning - G♯'-C♯-F♯-B-e-g♯-c♯' / A♭'-D♭-G♭-B-e-a♭-d♭'
One and one half steps down from standard. Used by bands such as Deftones (on their self-titled album) and Korn (on the song "Alone I Break", but on 14-string guitars.)
- G tuning - G'-C-F-A♯-d♯-g-c' / G'-C-F-B♭-e♭-g-c'
Two full steps down from standard tuning.
- F♯/G♭ tuning - F♯'-B'-E-A-d-f♯-b / G♭'-B'-E-A-d-g♭-b
Two and one half steps down from standard. Used by Danish band Mnemic in the albums Passenger, Sons of the System, and Mnemesis.
- F tuning - F'-A♯'-D♯-G♯-c♯-f-a♯ / F'-B♭'-E♭-A♭-d♭-f-b♭
Three full steps down from standard. Used by Meshuggah during the recording of Nothing. The songs are played live using 8 string guitars.
- E tuning - E'-A'-D-G-c-e-a
Three and one half steps down from standard.
- D♯/E♭ tuning - D♯'-G♯'-C♯-F♯-B-d♯-g♯ / E♭'-A♭'-D♭-G♭-B-e♭-a♭
Four full steps down from standard.
- D tuning - D'-G'-C-F-A♯-d-g / D'-G'-C-F-B♭-d-g
Four and one half steps down from standard.
- C♯/D♭ tuning - C♯'-F♯'-B'-E-A-c♯-f♯ / D♭'-G♭'-B'-E-A-d♭-g♭/
Five full steps down from standard.
- C tuning - C'-F'-A♯'-D♯-G♯-c-f / C'-F'-B♭'-E♭-A♭-c-f
Five and one half steps down from standard.
- Octave Tuning - B"-E'-A'-D-G-B-e
Six full steps (one octave) down from standard tuning.
The open C tuning for 7-string guitar was Devin Townsend's preferred tuning for the extreme metal band Strapping Young Lad (GCGCGCE).
- High A - E-A-d-g-b-e'-a' - Standard tuning with a high 'A' instead of a low 'B'. Because of the high pitch of the 'A' string, it usually requires a multi-scale fingerboard (fanned frets) to provide enough tension.
- C tuning - C-F-A♯-d♯-g♯-c'-f' / C-F-B♭-e♭-a♭-c'-f'
Half a step up from standard, used by Eddie Rendini during his time in Cold.
- C♯ tuning - C♯-F♯-B-e-a-c♯-f♯
The whole step up from standard. This tuning was used by Wes Borland with high E-string being lowered to C♯ (C♯-F♯-B-e-a-c♯-c♯) on the first two Limp Bizkit records.
These tunings have the added low 7th string tuned one full step lower allowing for chord structures similar to six-string drop tunings.
- Drop B - B-F♯-B-E-A-C♯-F♯ / B-F♯-B-E-G♯-C♯-F♯ / B-G♭-B-E-A-D♭-G♭
a tuning which combines the standard drop B tuning of a 6 string electric guitar, but with a high F♯ for soloing. Used by bands such as All Shall Perish and Assemble the Chariots
- Drop A - A-E-A-D-G-B-E
A combination of standard 6 string tuning and a 7th string dropped one full step for power chords, used by deathcore bands such as Suicide Silence, Oceano, and Whitechapel, as well as other bands such as Lacuna Coil, Blotted Science, In This Moment, Dir En Grey, Chimaira (on Pass Out of Existence), and occasionally Scar Symmetry, Escape the Fate, The Devil Wears Prada, Dry Kill Logic, and A Fall To Break. Triumphant Return guitarist Matti varies this tuning by dropping both the low B to A and low E to D and raising the high B and E a half-step to C and F (A-D-A-D-G-C-F).
- Drop A - alternatively, A-E-A-D-F#-B-E
The same as drop A tuning for a 6-string on the low strings while retaining a high E. In effect converts a 7-string into a drop A baritone guitar, but with standard tuning's soloing capability.
- Drop G♯/Drop A♭ -G♯-D♯-G♯-C♯-F♯-A♯-D♯ / A♭-E♭-A♭-D♭-G♭-B♭-E♭
One half step down from standard Drop A. Used by bands such as Destrophy, TesseracT, Brian "Head" Welch, After The Burial on some songs from their Rareform album and Periphery
- Drop G - G-D-G-C-F-A-D
A full step from standard Drop A, used by such bands as Molotov Solution, Impending Doom, Attack Attack! on their album This Means War, Any Given Day, Vildhjarta, Emmure and Born of Osiris on their album The Discovery.
- Drop F♯/Drop G♭ - F♯-C♯-F♯-B-E-G♯-C♯ / G♭-D♭-G♭-B-E-A♭-D♭
One and one half steps down from standard Drop A. Used by Deftones (on their Saturday Night Wrist album) and Staind on their self-titled album.
- Drop F - F-C-F-A♯-D♯-G-C / F-C-F-B♭-E♭-G-C /
Two full steps down from standard Drop A. This tuning is used on three tracks on Attack Attack!'s album This Means War: "The Hopeless," "The Abduction," and "The Wretched." The bands Northlane and Reflections use this tuning as well. Triumphant Return uses a variation of this tuning (F-C-G-C-F-A-D).
- Drop E - E-B-E-A-D-F♯-B / E-B-E-A-D-G♭-B
Two and one half steps down from standard Drop A.
- Drop D♯/Drop E♭ - D♯-A♯-D♯-G♯-C♯-F-A♯ / E♭-B♭-E♭-A♭-D♭-F-B♭
Three full steps down from standard Drop A.
- Drop D - D-A-D-G-C-E-A
Three and one half steps down from standard Drop A. Used by Black Tongue.
- Drop C♯/Drop D♭ - D♭-A♭-D♭-G♭-B-E♭-A♭ / C♯-G♯-C♯-F♯-B-D♯-G♯
Four full steps down from standard Drop A.
- Drop C - C-G-C-F-A♯-D-G / C-G-C-F-B♭-D-G
Four and one half steps down from standard Drop A.
- Drop B1 - B-F♯-B-E-A-C♯-F♯ / B-G♭-B-E-A-D♭-G♭
Five full steps down from standard Drop A. Six full steps (one octave) down from a baritone Drop B guitar
- Drop A♯/Drop B♭ - A♯-F-A♯-D♯-G♯-C-F / B♭-F-B♭-E♭-A♭-C-F
Five and one half steps down from standard Drop A.
- Drop A1 Tuning - A-E-A-D-G-B-E
Six full steps (one octave) down from standard Drop A.
A continuation of the 7-string, adding another string a perfect fourth lower than the seven strings low B. The eight string guitars additional low F♯ string is just a whole step up from a bass guitars low E string. While luthiers have been building these instruments previously, mass-produced Eight-string electric guitars are a relatively recent innovation. Ibanez was first to offer a production eight-string guitar in March 2007.[40] Many other companies now produce mass-market eight-string models, yet these guitars remain relatively uncommon.
- Standard - F♯'-B'-E-A-d-g-b-e'
Standard eight-string tuning. Used by Scar Symmetry on the song "Mechanical Soul Cybernetics" from the album Dark Matter Dimensions, by Deftones on their album Diamond Eyes, and by Periphery on "Ji".
- F tuning - F'-B♭'-E♭-A♭-d♭-g♭-b♭-e♭'
Half a step down from standard tuning. Used by Meshuggah, Monuments, After The Burial and by Deftones on "Tempest" and "Rosemary" from their latest album Koi No Yokan.
- E tuning - E'-A'-D-G-c-f-a-d'
One full step down from standard tuning. Used by Meshuggah and Korn on their "Untitled" album and on song "Illuminati" from their The Path of Totality album.
- E♭ tuning- E♭'-A♭'-D♭-G♭-B-e-a♭-d♭'
One and a half steps down from standard tuning. Used by Meshuggah on "Nebulous" and Dissipate on their Tectonics EP.
- D tuning - D'-G'-C-F-a♯-d♯-g-c'
Two full steps down from standard tuning.
- A tuning - A"-D'-G'-C-F-A-d-g
Three and one half steps down from standard tuning.
- High A tuning - B'-E-A-d-g-b-e'-a'
Standard seven string tuning with a 'high a' Used by Rusty Cooley.
- All fourths tuning - F♯'-B'-E-A-d-g-c'-f'
Regular tuning which extends range a half step higher.
- Drop E/F♭ - E-B-E-A-D-G-B-E
A combination of standard 7 string tuning and an 8th string dropped one full step for power chords, used by Animals as Leaders and Whitechapel (on the songs "Devolver" and "Breeding Violence" from A New Era of Corruption). Also used by Deftones on Koi No Yokan, Hacktivist and Emmure on the song "N.I.A. (News in Arizona)"
- Drop E, A - E-A-E-A-D-G-B-E
A combination of 7 string drop A tuning and an 8th string dropped one full step, allowing both power chords rooted on A, and easy fingering with the E a fourth below. This is the tuning of the lowest two strings of a bass, along with all 6 strings of a standard-tuned guitar.
- Drop E♭/D♯ - E♭-B♭-E♭-A♭-D♭-G♭-B♭-E♭
Half a step down from drop E tuning. Used by Meshuggah in the album Catch Thirty-Three, in the song Shed, and used by Emmure in the album Speaker of the Dead in the song "Word of Intulo". Also used by After the Burial in the song "To Carry You Away" off of the album In Dreams.
- Drop D - D-A-D-G-C-F-A-D
One full step down from drop E. Used by Meshuggah in the song Obsidian.
- Drop C♯ - C♯-G♯-C♯-F♯-B-E-G♯-C♯
One and a half steps down from drop E.
A continuation of the eight string, adding a string lower or higher.
- Standard - C♯-F♯-B-E-A-d-g-b-e'. Used by After the Burial on the songs "Pennyweight", "Neo Seoul" and "A Wolf Amongst Ravens" off of their Wolves Within album.
- High A - F♯-B-E-A-d-g-b-e'-a'
- Double Drop A - A-D-A-D-C♯-c-g-g♯-e'
Used by Glass Cloud.
A continuation of the nine string, adding another lower string to the standard or high A tuning.
- Standard - G♯-C♯-F♯-B-E-A-d-g-b-e'
- High A - C♯-F♯-B-E-A-d-g-b-e'-a'
- Standard bass and standard guitar - standard E-A-D-g-b-e tuning for the top 6 strings and standard E'-A'-G-D bass tuning for the bottom 4 strings. It's set as a factory tuning for Agile Septor 1030.
Steel Guitar[edit]
|This section possibly contains original research. (March 2012)
On table steel guitar and pedal steel guitar, the most common tunings are the extended-chord C6 tuning and E9 tuning, sometimes known as the Texas and Nashville tunings respectively. On a multiple-neck instrument, the near neck will normally be some form of C6, and the next closest neck E9.
Necks with 12 or more strings can be used with universal tunings which combine the features of C6 and E9. On a 12 string pedal steel guitar, all 12 strings are tuned and played individually, not as 6 double courses as on the 12 string guitar.
On lap steel guitar there is often only one six-string neck. C6 tuning is popular for these instruments, as are open G, E6, and E7 tuning.
Renaissance lute[edit]
|This section possibly contains original research. (March 2012)
- Renaissance lute tuning: E-A-d-f♯-b-e'
This tuning may also be used with a capo at the third fret to match the common lute pitch: G-c-f-a-d'-g'. This tuning also matches standard vihuela tuning and is often employed in classical guitar transcriptions of music written for those instruments, such as, for instance, "La Canción Del Emperador" and "Diferencias Sobre Guardame Las Vacas" by Renaissance composer Luis de Narváez.
- ^ Sethares (2009, pp. 18–19)
- ^ Hannu Annala, Heiki Mätlik (2007). "Composers for other plucked instruments: Rudolf Straube (1717-1785)". Handbook of Guitar and Lute Composers (Translated by Katarina Backman ed.). Mel Bay. p. 30. ISBN 9780786658442. ISBN 0786658444.
- ^ a b Guitar Tunings Database (2013). "CCGCEG Guitar Tuner". CCGCEG: Open C via harmonic overtones. Retrieved 20 February 2013.
- ^ a b Persichetti (1961, pp. 23–24): Persichetti, Vincent (1961). Twentieth-century harmony: Creative aspects and practice. New York: W. W. Norton. ISBN 0-393-09539-8. OCLC 398434.
- ^ a b Sharken, Lisa (15 May 2001). "Mick Ralphs: The rock 'N' roll fantasy continues". Vintage Guitar. Retrieved 21 February 2013.
- ^ Sethares (2009, pp. 20–21)
- ^ Grossman (1972, p. 29)
- ^ a b Johnson, Gordie (1 May 2008). "Hey Kid, What Tuning is That?". Canadian Musician 30 (3): 25.
- ^ "List of all Guitar and Piano Transcriptions". GGDGBD. JoniMitchell.com. Retrieved February 22, 2013.
- ^ http://www.taropatch.net/tunings.htm
- ^ Bellow (1970, p. 164): Bellow, Alexander (1970). The illustrated history of the guitar. Colombo Publications.
- ^ Timofeyev (1999): 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.
- ^ Sethares (2001, p. 16)
- ^ Cohen, Andy (22 March 2005). "Stefan Grossman- Country Blues Guitar in Open Tunings". Sing Out! 49 (1): 152.
- ^ [1]
- ^ John Sheehan
- ^ Erlewine, Dan (August 1992). "Talking With The Iceman: Albert Collins". Guitar Player 26 (8): 62.
- ^ Hanson (1995, pp. 111)
- ^ Hanson (1995, pp. 98)
- ^ Hanson (1995, pp. 75)
- ^ Sethares (2001, pp. 54)
- ^ a b Peterson (2002, pp. 36–37):Peterson, Jonathon (2002). "Tuning in thirds: A new approach to playing leads to a new kind of guitar". American Lutherie: The Quarterly Journal of the Guild of American Luthiers (8222 South Park Avenue, Tacoma WA 98408: USA: The Guild of American Luthiers). Number 72 (Winter): 36–43. ISSN 1041-7176.
- ^ a b Sethares (2001, pp. 56)
- ^ Griewank, Andreas (1 January 2010), Tuning guitars and reading music in major thirds, Matheon preprints 695, Rosestr. 3a, 12524 Berlin, Germany: DFG research center "MATHEON, Mathematics for key technologies" Berlin, Postscript file and Pdf file
- ^ Kirkeby, Ole (1 March 2012). "Major thirds tuning". m3guitar.com. cited by Sethares (2011). Retrieved 10 June 2012.
- ^ 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.
- ^ Sethares (2001, pp. 58–59)
- ^ Bianco, Bob (1987). Guitar in Fourths. New York City: Calliope Music. ISBN 0-9605912-2-2. OCLC 16526869.
- ^ Ferguson (1986, p. 76): Ferguson, Jim (1986). "Stanley Jordan". In Casabona, Helen; Belew, Adrian. New directions in modern guitar. Guitar Player basic library. Hal Leonard Publishing Corporation. pp. 68–76?. ISBN 9780881884234. ISBN 0881884235.
- ^ Sethares (2001, "The augmented fourths tuning" 60–61)
- ^ Sethares (2001, "The mandoguitar tuning" 62–63)
- ^ Lou Reed biography at IMDB
- ^ http://www.betterguitar.com/instruction/rhythm_guitar/tune_down_half_step/tune_down_half_step.html
- ^ Steward, Gary (2004). Rumba on the River: A History of the Popular Music of the Two Congos. Verso. p. 34. ISBN 978-1-85984-368-0.
- ^ Bart Hopkin; Mark Rankin (April 1988). "Alternative tunings on Fretted Instruments–Refretting and Other Approaches". Experimental Musical Instruments journal 3 (6): 3–6.
- ^ US Patent for individually adjustable frets
- ^ The Adjustable Microtonal Guitar by Tolgahan Çoğulu
- ^ Schecter Guitar Research (1999) Diamond Series. Schecter Guitar Research Catalogs. Los Angeles, CA
- ^ McFarland-Johnson, Jeffrey (2013). "GUITELLO". johnsong.com. Retrieved 2013-06-16.
- ^ Official Ibanez Forums announcement: http://www.ibanez.com/forum/forum_posts.asp?TID=4151&PN=1
- Denyer, Ralph (1992). "Playing the guitar ('How the guitar is tuned', pp. 68–69, and 'Alternative tunings', pp. 158–159)". The guitar handbook. Robert Fripp (foreword) (Fully revised and updated ed.). London and Sydney: Pan Books. pp. 65–160. ISBN 0-330-32750-X.
- Grossman, Stefan (1972). The book of guitar tunings. New York: Amsco Publishing Company. ISBN 0-8256-2806-7. LCCN 74-170019.
- Sethares, William A. (2011). "Alternate tuning guide". Madison, Wisconsin: University of Wisconsin; Department of Electrical Engineering. 2010 PDF version by Bill Sethares. Retrieved 19 May 2012.
- Weissman, Dick (2006). Guitar tunings: A comprehensive guide. Routledge. ISBN 9780415974417. LCCN 0415974410.
Further reading[edit]
- Anonymous (2000). Alternate tunings guitar essentials. Acoustic Guitar Magazine's private lessons. String Letter Publishing. Hal Leonard Publishing Corporation. ISBN 9781890490249. LCCN 1890490245.
- Hanson, Mark (1995). The complete book of alternate tunings. Accent on Music. ISBN 9780936799131.
- Hanson, Mark (1997). Alternate tunings picture chords. Accent on Music. ISBN 9780936799148. LCCN 0936799145.
- Heines, Danny (2007). Mastering alternate tunings: A revolutionary system of fretboard navigation for fingerstyle guitarists. Hal Leonard. ISBN 9780634065699. LCCN 0634065696.
- Johnson, Chad (2002). Alternate tuning chord dictionary. Hal Leonard. ISBN 9780634038570. LCCN 2005561612.
- Maloof, Richard (2007). Alternate tunings for guitar. Cherry Lane Music Company. ISBN 9781575605784.
- Shark, Mark (2008). The tao of tunings: A map to the world of alternate tunings. Hal Leonard Corporation. ISBN 9781423430872. LCCN 1423430875.
External links[edit]
- Allen, Warren (22 September 2011) [30 December 1997]. "WA's encyclopedia of guitar tunings". (Recommended by Marcus, Gary (2012). Guitar zero: The science of learning to be musical. Oneworld. p. 234. ISBN 9781851689323.). Retrieved 27 June 2012.
- Sethares, William A. (12 May 2012). "Alternate tuning guide: Interactive". Uses Wolfram Cdf player. Retrieved 27 June 2012.
|The Wikibook Guitar has a page on the topic of: Tuning the Guitar


text:
Ok Go Post New Video
another good video by these guys. shame the music is so mediocre.
video is b.a.d.a.s.s. despite its impending massive view count, though, i'm sure no one will buy the album.
the only reason this band exists is for cool youtube vids, honestly they suck saw them live open for snow patrol five years back...absolute awful trash
The interactive video of this was pretty damn awesome.
you could argue they're mediocre now, but their self-titled debut was really good.
this was seriously awesome
Cool vid.
saw them live open for snow patrol five years back...absolute awful trash
Their videos are the only thing these guys have going for them. Music is pretty bland. Will watch, though.
wow awesome video song was good
the interactive thing is even better oh my god
Since I couldn't access it, can someone briefly explain what happens on the interactive video...
Digging: Too Close To Touch - Nerve Endings
So you get to type a message that will be displayed during the video (the "Spread Love" part is replaced with the message). Plus, Google Chrome adds some special effects (really cool).
The interactive thing is amazing.
Ahhh, thanks. So basically, people will propose marriage via an OK Go video.
Why can't you access it? No computer?
Can't be screwed changing to Chrome, which is required.
These guys are really just videographers who own instruments. Music is so bland.
yeah if they put half as much effort into making music as they do into fucking around on treadmills, they'd maybe be decent
another sweet vid by these guys. who gives a shit if the music's mediocre you fucking retards?
• Slint guitarist survives suicide ..• Tool + Mastodon supergroup• Scarlett Johansson forms band• Muse unleash new single• Nickelback get groovy • New Godspeed You! Black Emperor a..• New Muse song• Steven Wilson premieres new tune• New Incubus Song• Kendrick Lamar unveils new single
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Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

subset: commoncrawl


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Find a copy in the library
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|Dust jackets (Bindings)
Authors' autographs (Provenance)
Juvenile works
Juvenile fiction
|Material Type:
|Fiction, Primary school
|Document Type:
|All Authors / Contributors:
Samantha R Vamos; Rafael López; Brian G Walker; Susan Mallory Sherman; Charlesbridge (Firm); Imago Publishing Ltd.; Chroma Graphics.
|9781580892421 1580892426 9781580892438 1580892434
|OCLC Number:
|Language Note:
|In English with some Spanish words.
|"Color seperations by Chroma Graphics, Singapore ; Production supervision by Brian G. Walker ; Designed by Susan Mallory Sherman"--t.p. verso.
Baldwin Library copy signed by the illustrator.
|Target Audience:
|Elementary Grade.
|1 v. (unpaged) : col. ill. ; 27 cm.
|Samantha R. Vamos ; illustrated by Rafael López.
A cumulative tale of a farm maiden who, aided by a group of animals, prepares "Arroz con Leche," or rice pudding. Includes recipe and glossary of the Spanish words that are woven throughout the text.
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The Delta State University Department of Music presents Dr. Bret Pimentel, assistant professor of woodwinds, in a faculty recital Aug. 28 at 7:30 p.m. in the Recital Hall of the Bologna Performing Arts Center. Pimentel
Home » News and Events » Posts tagged "BPAC" (Page 6)
Tag Archives: BPAC
Over 100 campers from across the nation arrived at the Bologna Performing Arts Center in Cleveland today. Young artists from Mississippi, Tennessee, Louisiana, Georgia and even California eagerly arrived anticipating a week
Mayhem follows the Muppets overseas, as they find themselves unwittingly entangled in an international crime caper. Rated PG, 112 Minutes. General Admission tickets are $5.00; popcorn and other movie style concessions will
This past Sunday, 39 eager students from all areas of the state joined 10 professional artists from across the country for the 17th annual Janice Wyatt Mississippi Summer Arts Institute (MSAI) at the Bologna Performing Arts
The Bologna Performing Arts Center proudly announces the kickoff to its 2014-15 season on June 10. All are welcome to celebrate the center's 20th anniversary season from 4:30-5:30 p.m. in the Bologna Center lobby.


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Tag » gender gap
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BY Annelise S in General on Jul 13, 2011
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David Moulton: Media must have critical eye on sports world, and fans must have our back
Dear fans,
As someone who interacts with you for a living and views sports as one of the pillars of my life, I am desperate for answers.
Or at least one: When did it stop being OK for the media to criticize?
It's a serious question. So many of us are beginning to conclude that fans don't want their teams covered, because that implies a sort of balance. You just want propaganda.
We criticize our friends and family, but to do so of your teams and favorite athletes is unacceptable? So if someone is in street clothes they are fair game, but once they put your uniform or helmet on they should be off-limits? This is not nearly the exaggeration that it seems.
We're not the one making these rules, you are. And do you know who picked up on you guys changing the rules long before we in the media did (because let's face it, we're not that smart)? The teams did. They noticed that you would get angrier at us for pointing out your favorite teams' faults than you would at the teams for having them.
And since they don't like critical things to be said of them (who does?), teams started turning on the media. They picked fights with us knowing full well that you would side with them over us. So now we've got the team mad at us and you mad at us. Well, heck, we've got to make somebody happy or else we don't have a job. Considering you are the ones that buy our services, we needed to start pleasing you.
And that's when our relationship changed.
So the first thing we did under normal circumstances was to stop criticizing your favorite team. You seemed to like that, but not as much as your favorite team did. We thought from time to time we could still "question" something the team or one of its players did. But the teams decided they didn't even want to be questioned. So when we did so, they turned on us and it became "Repeat, Rinse Cycle."
Over and over again.
So that now when a guy lies to you and we point it out, we are haters. If he's black, we're racist. When a coach starts behaving not like a coach and it is pointed out, we have a bias.
You used to expect and demand the truth from us. Now we tell you the truth and you inform us "we can't suck enough." We thought we sucked because we were fat, dumb and lazy. Imagine our shock when we actually do our "jobs" and we suck more. This in turn leads to us getting fatter, dumber and lazier because apparently that's what you want.
And the owners, teams and athletes are rolling on the floor hysterically laughing at the both of us. Because they have done it. They have turned the two parties, who used to have a bond, against each other. We thought we would always be the conduit between you and your teams. Now we have been replaced by fan blogs and team message boards.
So now the sports world has been carefully and methodically shaped to look and sound just like our political world.
How's that worked out for us over the last 20 years?
Maybe questioning authority (in all areas of our lives) might not be such a bad thing?
I propose that we, fans and media, wipe the slate clean and start over. We do so by agreeing on a very painful premise. The media acknowledges they suck to the high heavens and need to do much better. The fans agree to start thinking for themselves again.
If we shook hands on this, the rest of the sports world would freak out. Because they know, we, fans and media, are nothing more than pawns in a game.
And boy are we being played.
I think the media is willing to hold up their end of the bargain. After all, you are the customer. Ultimately though, the power rests with you, the fans.
Please take it back.
David Moulton is a freelance writer. He is co-host of "Miller and Moulton in the Afternoon." The show airs weekdays 2 to 7 p.m. on WWCN/AM 770 ESPN. His column appears Sunday, Wednesday and Friday.
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