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A FuniChar D-616 guitar with a Drop D tuning. It has an unusual additional fretboard that extds onto the headstock. Most guitarists obtain a Drop D tuning by detuning the low E string a tone down.
This article contains a list of guitar tunings that supplemts the article guitar tunings. In particular, this list contains more examples of op and regular tunings, which are discussed in the article on guitar tunings. In addition, this list also notes dropped tunings.
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This op C tuning is used by William Ackerman for his Townsd 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.
This tuning is used on most work by Devin Townsd in his solo work as well as his work with Strapping Young Lad. Wh playing on a 7-string guitar, he would have a low G as the lowest string to complete the fifth. David Wilcox also recorded his most famous songs, Eye of the Hurricane and Rusty Old American Dream, both from How Did You Find Me Here, in this tuning, as well as New World, Show the Way, Hold It Up to the Light, and his cover of It's the Same Old Song from Big Horizon, and Mango from East Asheville Hardware.
The C-C-G-C-E-G tuning uses the harmonic sequce (overtones) of the note C. Wh an op-note C-string is struck, its harmonic sequce begins with the notes (C, C, G, C, E, G, B♭, C).
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This overtone-series tuning was modified by Mick Ralphs, who used a high C rather than the high G for Can't Get ough on Bad Company. Ralphs said, It needs the op C to have that ring, and it never really sounds right in standard tuning.
Nick Drake for Place To Be, Alt-J for Interlude 2, Boys Like Girls for Thunder, Harry Styles for Matilda, David Wilcox for Wildberry Pie, Mighty Ocean, Kindness, and Never ough, and by Soko for No More Home, No More Love. Op-D tuning has be called Vestapol tuning.
Richie Havs used Op D tuning to be able to play chords using only his thumb and one or two fingers. Wilco have several songs in Op D.
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Kevin Cronin used Op D in Time for Me to Fly, the 1978 REO Speedwagon hit song, with four top-string variations for G and A.
This alternative Op D tuning (and its downtuned variations) is frequtly used by Mark Tremonti guitarist for the bands Creed, Alter Bridge, and Tremonti. It was also used by Keith Richards on Jumpin' Jack Flash and the Stone Roses in Love Spreads.
This tuning is the same as Op D but tuned a half-step down. It is used by Alice In Chains on the songs Over Now, Nothin' Song, and Shame in You; by Guns N' Roses on the song Bad Obsession; and by Switchfoot on the song Daisy.
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E-B-E-G#-B-E (use light-gauge strings because three strings must be raised) Op E is used by: Duane Allman on Fillmore East and many other Slide tracks he played and recorded 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. The tuning is also used by Hoobastank on their first and second albums, by Judy Collins on her cover of Both Sides Now, and by Junior Campbell on The Marmalade recordings Reflections of My Life and I See the Rain. Lastly, the Op E tuning is used by Johnny Marr of the Smiths on The Headmaster Ritual.
F-A-C-G-C-E is also sometimes used, most notably by the band American Football. The guitarist Yvette Young is also known to use this tuning.
Op 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, some songs by Alter Bridge (including down-tuned and minor variations on In Loving Memory, Watch Over You, Wonderful Life, Words Darker Than Their Wings, Cradle to the Grave, and Dying Light), and in Fearless by Pink Floyd.
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Listing the initial six harmonics of the G note, this op-G tuning was used by Joni Mitchell for Electricity, For the Roses, and Hunter (The Good Samaritan).
The following op-tunings use a minor third, and give a minor chord with op strings. To avoid the relatively cumbersome designation op D minor, op C minor, such tunings are sometimes called cross-note tunings. The term also expresses the fact that, compared to Major chord op tunings, by fretting the lowered string at the first fret, it is possible to produce a major chord very easily.
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 wh the op strings are used as drones. Oft these tunings form a suspded chord on the op strings. A well known user of modal tunings is Sonic Youth.
Guitar Tuning E Flat (eb)
For every major-thirds tuning, the consecutive op-notes are separated by four semitones, and so three strings cover the twelve notes of the octave.
In the minor-thirds tuning, every interval betwe successive strings is a minor third. In the minor-thirds tuning beginning with C, the op strings contain the notes (C, D♯ , F♯ ) of the diminished C chord.
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.
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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.
It has a wide range, thus it requires an appropriate range of string gauges. A high b' string has be rectly developed by Octave4Plus gauged at .006 which is pretty thin, but under really low tsion to prevt breakage.
All-fifths tuning has be 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.
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Drop tunings lower the sixth string, dropping the lowest E string of the standard tuning. Some drop tunings also lower the fifth string (the A-note in standard-tuning). A drop one tuning lowers the pitch by one full step.
Some lower tunings may call for a baritone guitar to more easily maintain high string tsion and a rich tone. Others can be achieved using a capo and/or a partial capo.
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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.
From standard EADGBE, all the strings are tuned up by the same interval. String tsion 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 extded 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 frequtly countered in early rock and roll music) are more easily played wh the accompanying guitar plays chords in the higher tuning. If standard gauge strings are used, the result is oft a brighter or tighter sound; this was a common practice for some bluegrass bands in the 1950s, notably Flatt & Scruggs.
DADGAD was developed by Davey Graham in the early 1960s wh he was travelling in Morocco, to more easily play along with Oud music. Among the first to use this tuning were the folk-blues guitarists of the '60s like Bert Jansch, John Rbourn, Martin Carthy, and John Martyn. It was many years later in the 1970s that it became established for accompanists of traditional music, predominantly Scottish and Irish. Due to this popularity it is sometimes referred to as Celtic tuning, although this is misleading giv its origin and its primary early use in a quite differt field of music. Oft vocalized as Dad-Gad, DADGAD it is now common in Celtic music. In rock
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