Guitar tunings



Tuning the Guitar



Like many other string instruments, the tuning arrangement of the guitar can be easily modified. Guitar tunings almost always refers to the pitch of the open ("unfretted") string. In standard guitar tuning, the spelling EADGBE refers to the pitches of the strings, from lowest pitch (low E) to highest (high E).

Standard tuning

Notes in standard tuning.By far the most popular tuning on a 6-string guitar, it consists of the following notes.

String Note Frequency Scientific pitch notation

1 string (Highest) E' 329.60 Hz E4


2 string B 246.90 Hz B3


3 string G 196.00 Hz G3


4 string D 146.80 Hz D3


5 string A 110.00 Hz A2


6 string (Lowest) E 82.40 Hz E2



The pitches referred to above are referenced standard pitch (a' = 440.0 Hz.). In some regions of Europe, especially Germany, Serbia and Poland, the B natural is indicated with the letter H: in music notation, H is B♮ (B natural) and B is B♭ (B flat).



The guitar, as conventionally fretted, is an equal tempered instrument.

The guitar is a transposing instrument. Its pitches sound one octave lower than notated.

Letter names in table reflect pitch in Helmholtz pitch notation.

This pattern can also be denoted as E-A-d-g-b-e'. (See note for an explanation of the various symbols used in the above table and elsewhere in this article.)



Standard tuning has evolved to provide a good compromise between simple fingering for many chords and the ability to play common scales with minimal left hand movement. The separation of the first (e') and second (b) string, as well as the separation between the third (g), fourth (d), fifth (A), and sixth (E) strings by a five-semitone interval (a perfect fourth) allows notes of the chromatic scale to be played with each of the four fingers of the left hand controlling one of the first four frets (index finger on fret 1, little finger on fret 4, etc.). It also yields a symmetry and intelligibility to fingering patterns.



The separation of the second (b), and third (g) string is by a four-semitone interval (a major third). Though this breaks the fingering pattern of the chromatic scale and thus the symmetry, it eases the playing of some often-used chords and scales, and it provides more diversity in fingering possibilities.



The chromatic (equal tempered) musical scale and the natural musical scale have note pitches that are very similar. The natural musical scale uses natural harmonic pitches. For example, the A note has harmonics pitches for the D and E notes. The guitar fretboard can approximately accommodate to tuning to the chromatic or natural musical scale by adjusting the intonation by a little. Intonation is tuning of the fret notes to other fret notes of one string so that most of the fretboard note pitches are tuned to the pitches of the musical scale. Intonation tuning is done by adjusting the string lengths at the bridge. The open string note of a particular string is kept constant so that when adjusting the string length, most of the fretboard pitches are closely matched to the pitches of the musical scale for this string. Tune the open string by adjusting the string tension at the tuning gear using a decent electronic tuner for tuning. Then check the intonation tuning of the fifth, seventh, ninth, twelfth, sixteenth and nineteenth fret note pitches of this string by ear using an electronic chromatic pitch pipe that comes with the above tuner. If these pitches are too high, move the bridge saddle back (away from fretboard) from about 0.5 to about 9 millimetres for the sixth string for a 0.65 metre scale length. If these fret note pitches are too low, then move the bridge saddle forward a little instead. Next tune intonation of other strings each in same way.



Alternative tunings

Alternative tuning refers to any open string note arrangement other than that of standard tuning detailed above. Despite the usefulness and almost universal acceptance of standard tuning, many guitarists employ such alternative tuning arrangements in order to exploit the unique chord voicing and sonorities that result from them. Most alternative tunings necessarily change the chord shapes associated with standard tuning, which results in certain chords becoming much easier to play while others may become impossible to play.



As a standard set of guitar strings is designed to be tuned to the standard notes, alternative tunings may require not just a different tuning, but re-stringing of the guitar with strings better suited to the open string note. In turn, further adjustments to cope with the different tensions placed on the guitar may be required, and in extreme tunings, fitting different components to cope with the different gauges used.



[edit] Lower tunings

From standard EADGBE, all the strings are down-tuned by the same degree of one semitone. Typically requires thicker gauge strings for two steps.



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 such as Guns N' Roses and Slayer.

D tuning - D-G-C-F-A-D

One full step down from standard tuning. Used by bands such as Death and Kreator. Also used in Nirvana's song Come As You Are.

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 1970's.

C tuning - C-F-B♭-E♭-G-C / C-F-A♯-D♯-G-C

Two full steps down from normal tuning

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 early Swedish death metal by bands such as Entombed, Dismember as well as other bands such as Slipknot.

A♯/B♭ - A♯-D♯-G♯-C♯-E♯-A♯ / B♭-E♭-A♭-D♭-F-B♭

Three full steps from standard tuning

A tuning - A-D-G-C-E-A

Three and a half steps down from standard tuning.

G♯/A♭ tuning - G♯-C♯-F♯-B♯-D♯-G♯ / A♭-D♭-G♭-B-E♭-A♭

Four full steps down from standard tuning.

G tuning - G-C-F-A♯-D-G / G-C-F-B♭-D-G

Four and a half steps down from standard tuning.

F♯/G♭ tuning - F♯-B-E-A-C♯-F♯ / G♭-B-E-A-D♭-G♭

Five full steps from standard tuning.

F tuning - F-A♯-D♯-G♯-C-F / F-B♭-E♭-A♭-C-F

Five and one half steps down from standard tuning.

Octave Tuning - E-A-D-G-B-E

Six full steps (one octave) down from standard tuning. Essentially the same as standard tuning for a bass guitar.

Tunings as low as B♭ tuning may be practiced on an unmodified instrument, although an extended scale "baritone" guitar is better-suited to avoid warping, as its neck and truss rod are designed for their tension. F and octave tuning are impractical for the standard guitar, since its scale is too short for a clear sound and unmodified tuners are not built to admit bass guitar gauge strings.



[edit] Higher tunings

From standard EADGBE, all the strings are tuned up by the same degree of one semitone. 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 simply that they give more frets with which to play (as the frets behind where a capo would be are not lost).



E high tuning -E-E-E-E-E-E

Strong E unison high string resonance(See E low tuning).

F tuning - F-A♯-D♯-G♯-C-F / F-B♭-E♭-A♭-C-F

Half a step up from standard tuning.

F♯/G♭ tuning - F♯-B-E-A-C♯-F♯ / G♭-B-E-A-D♭-G♭

One full step up from standard.

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.

A♯/B♭ - A♯-D♯-G♯-C♯-E♯-A♯ / B♭-E♭-A♭-D♭-F-B♭

Three full steps up from standard.

[edit] Dropped tunings

These tunings have the 6th string tuned one full step below the other strings. Some of these may require a baritone guitar due to the extremely low notes. Others can be achieved using a capo and/or a partial capo.



Drop D - D-A-D-G-B-E

Standard tuning but with the 6th string dropped one full step.

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.

Drop C - C-G-C-F-A-D

One full step down from Drop D. This tuning is most often used by lighter metal musicians.

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 heavymetal musicians.

Drop A♯/Drop B♭ - A♯-F-A♯-D♯-G-C / B♭-F-B♭-E♭-G-C

Two full steps down from Drop D.

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 deathmetal musicians.

Drop G♯/Drop A♭ - G♯-D♯-G♯-C♯-F-A♯ / A♭-E♭-A♭-D♭-F-B♭

Three full steps down from Drop D.

Drop G - G-D-G-C-E-A

Three and one half steps down from Drop D.

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.

Drop F - F-C-F-C♯-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.

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 Tuning - D-A-D-G-B-E

Six full steps (one octave) down from Drop D.

[edit] Double-dropped tunings

Similar to the dropped tunings, except that both the 1st and 6th strings are dropped one full step.



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.

Drop C♯/Drop D♭ - C♯-G♯-C♯-F♯-A♯-C♯ / D♭-A♭-D♭-G♭-B♭-D♭/

Same as Drop D, but every string is dropped one half step.

Drop C - C-G-C-F-A-D

One full step down from Drop D.

Drop B - B-F♯-B-E-G♯-B / B-G♭-B-E-A♭-B/

One and one half steps down from Drop D.

Drop A♯/Drop B♭ - A♯-F-A♯-D♯-G-A♯ / B♭-F-B♭-E♭-G-B♭

Two full steps down from Drop D.

Drop A - A-E-A-D-F♯-A / A-E-A-D-G♭-A

Two and one half steps down from Drop D.

Drop G♯/Drop A♭ - G♯-D♯-G♯-C♯-F-G♯ / A♭-E♭-A♭-D♭-F-A♭

Three full steps down from Drop D.

Drop G - G-D-G-C-E-G

Three and one half steps down from Drop D.

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.

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.

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.

Drop D♯/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.

Drop D1 Tuning - D-A-D-G-B-D

Six full steps (one octave) down from Drop D.

[edit] Five-string tunings

Though five-string guitars are generally rare, 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. Alternate 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).

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, in order to have the Root note as the tonic.

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.

[edit] Seven-string tunings

Standard Tuning - B-E-A-D-G-B-E

Standard seven-string tuning.

A♯/B♭ tuning - A♯-D♯-G♯-C♯-F♯-A♯-D♯ / B♭-E♭-A♭-D♭-G♭-B♭-E♭

Half a step down from standard.

A tuning - A-D-G-C-F-A-D

A full step down from standard.

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.

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.

F tuning - F-A♯-D♯-G♯-C♯-F-A♯ / F-B♭-E♭-A♭-D♭-F-B♭

Three full steps down from standard.

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.

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.

[edit] Seven-string dropped tunings

These tunings have the added low 7th string tuned one full step below the other strings.



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.

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.

Drop G - G-D-G-C-F-A-D

A full step from standard Drop A.

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.

Drop F -F-C-F-A♯-D♯-G-C / F-C-F-B♭-E♭-G-C /

Two full steps down from standard Drop A.

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.

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 B - B-F♯-B-E-A-C♯-F♯ / B-G♭-B-E-A-D♭-G♭

Five full steps down from standard Drop A.

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.

[edit] Eight-string tunings

Standard - F♯-B-E-A-D-G-B-E

Standard eight-string tuning.

F tuning - F-B♭-E♭-A♭-D♭-G♭-B♭-E♭

Half a step down from standard tuning.

E tuning - E-A-D-G-C-F-A-D

One full step down from standard tuning.

Classical guitar tunings

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (February 2009)



The classical guitar developed over a period of 500 years and a number of guitar tunings are commonly used this genre, some based upon historical practice. Unlike other musical styles, in which alternative tunings are used by artists largely as a matter of individual preference, in classical guitar styles, the decision to employ alternative tunings largely resides with composers or arrangers of musical transcriptions. Thus, classical guitarists performing known transcriptions are assumed to be using defined tunings.



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.



"Pseudo Russian" or "g" tuning: D-G-d-g-b-e'

Open tunings


In guitar playing, an open tuning is one where the strings are tuned so that a chord is achieved without fretting, or pressing any of the strings. With such a tuning, other chords may be played by simply barring a fret or through the use of a slide; many well-known slide guitarists prefer open tuning, and some develop a variety of their own personal version of open tuning, as the result of many factors within their careers.



Open tunings are common in blues music and some rock and folk music. They are particularly used in steel guitar and bottleneck guitar playing. The names of some tunings vary between genres; for example in Hawaiian music, for slack-key guitar, an example would be the taro patch, or open G tuning, with strings low-high D-G-D-G-B-D. But in bluegrass music, open G can mean G B D G B D.



Open G was used in rock by 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.


Examples

Major open tunings

Major open tunings (giving a major chord with the open strings) include (all from low to high):

Open A: E-A-C♯-E-A-E

Alternatively: E-A-C♯-E-A-C♯

"Slide" Open A: E-A-E-A-C♯-E (note that this tuning is identical to Open G tuning but with every string raised one step or two frets)

Open B: B-F#-B-F#-B-D

Open C: C-G-C-G-C-E

Open C tuning for 7 string: G-C-G-C-G-C-E

Open D: D-A-D-F♯-A-D

Alternatively: D-A-D'-A'-D-D

Open E: E-B-E-G♯-B-E (use light gauge strings because three strings must be raised)

Open F: F-A-C-F-C-F (rare)

F-Sharp Tuning: F♯-A♯-C♯-F♯-C♯-F♯

Open G: D-G-D-G-B-D (also known as spanish tuning)

dobro Open G: G-B-D-G-B-D (occasionally adopted for ordinary guitar, but requires lighter fifth and sixth strings).

Russian Open G: D-G-B-D-G-B-D (the standard tuning for the Russian seven string guitar).

[edit] Cross-note tunings

The above open tunings all give a major chord with open strings. Since it is highly likely guitarists will need to play minor chords as well, open tunings must be adapted to allow this by lowering the pitch of one of the strings forming the open chord by half a step. 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, by fretting the lowered string at the first fret, it is possible to produce a major chord very easily.



Cross-note or open E-minor was used by Bukka White and Skip James.[2]



Cross-note tunings include (low to high):



Cross-note A: E-A-E-A-C-E

Alternative: E-A-C-E-A-E (rare)

Cross-note C: C-G-C-G-C-E♭

Cross-note D: D-A-D-F-A-D

Cross-note E: E-B-E-G-B-E

Cross-note F: F-A♭-C-F-C-F (extremely rare)

Alternative: low-high; F-C-F-A♭-C-F (used by Albert Collins;[citation needed] requires light gauges)

Cross-note G: D-G-D-G-B♭-D
Modal tunings

Sometimes a guitarist will want a tuning that will permit very easy chords but not be definitively minor or major. In this case, modal tunings can be used. They can be especially effective with droning open strings, and give "suspended" second or fourth chords:



Modal tunings include (low to high):



Asus2: E-A-B-E-A-E

Asus4: E-A-D-E-A-E

C6: C-A-C-G-C-E

Open Page: D-G-C-G-C-D

Csus4: C-G-C-G-C-F

C15: C-G-D-G-C-D

Dsus2: D-A-D-E-A-D

Dsus4: D-A-D-G-A-D

Esus2: E-A-E-F♯-B-E

Esus4: E-A-E-A-B-E

G6: D-G-D-G-B-E

Gsus2: D-G-D-G-A-D

Gsus4: D-G-D-G-C-D

E modal: E-B-E-E-B-E

G modal: G-G-D-G-B-D

B modal: B-F♯-C♯-F♯-B-D♯

"Extended chord" tunings

These tunings allow a guitarist to play an open seventh, ninth, eleventh or thirteenth chord. One or more of the strings is retuned to the appropriate note of the required scale. Such tunings may be either minor or major.



Examples are (low to high):



Open Dmaj7: D-A-D-F♯-A-C♯

Open Dmin7: D-A-D-F-A-C

Open Dmin(add9): D-A-D-F-A-E

Open Emin7: E-B-D-G-B-E (same as standard except raised 5th string which needs lighter gauge)

Open G6: D-G-D-G-B-E

Dobro open G6: G-B-D-G-B-E (two lowest strings tuned up and require lighter gauges)

Open G7:

D-G-D-G-B-F

D-G-D-F-B-D (both very rare presumably because of tritone between adjacent strings)

F-G-D-G-B-D

Open Gmaj7: D-G-D-F♯-B-D (see slack key)

"Modal" G7: F-G-D-G-C-D

"Open G13": F-G-D-G-B-E

Open Cmin7: C-G-C-G-B♭-E♭

Open Cmaj7: C-G-C-G-B-E

Open C6/9: C-G-C-E-A-C

Open Cmaj9: C-G-D-G-B-E

Csus2add11: C-G-D-F-c-f

Golden Blue: C-C-c-c-B♭-F

Open Gsus4: D-G-C-G-c-d (used by Jimmy Page on "The Rain Song"[citation needed])

Steel guitar

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.


Miscellaneous tunings

D-A-D-G-A-D

Often vocalized as "Dad-Gad", DADGAD is common in Celtic music, and is also heard in rock music an example of which is Led Zeppelin's "Kashmir". Davy Graham invented this tuning so he could play along with the native musicians on a trip to morocco. It was then taken up by Bert Jansch. Jansch was a huge influence on Jimmy Page who helped popularized this tuning.[1].



All fourths: E-A-d-g-c'-f'

This tuning is like that of the lowest four strings in standard tuning. It removes from standard tuning the irregularity of the interval of a third between the second and third strings. This tuning is sometimes adopted by guitarists who are proficient at two-handed tapping, as it allows for symmetrical scales all the way up and down the fretboard. A notable example is Stanley Jordan.


All fifths: C-G-d-a-e'-b'

This is a tuning in intervals of fifths like that of a mandolin or a violin. Has a remarkably wide range, though it is impossible to achieve with standard equipment (the high b" makes the first string very taut such that it will break easily), and may not play well on an acoustic guitar (the low C is too low to resonate properly in a standard guitar's body). Some guitarists, notably Robert Fripp of the band King Crimson use all fifths tuning with a g' instead of a b' on the first string, making that interval a minor third rather than a perfect fifth. This tuning is often called "New Standard Tuning" by its users.



Another variation of the all fifths tuning utilizes an additional bass string as an alternative to a high b: F-C-G-d-a-e This tunes the top 4 strings to the standard mandolin/violin tuning and adds bass missing from those instruments.





Tuning guitars. All thirds: E-G#-C-E-G#-c OR F#-A#-D-F#-A#-d

In this tuning, as there are four notes between each string, and humans have four available fingers, players rarely need to change position, unless they need a particularly high or low note.


Mi-composé: 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. 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'.


Gorac: B-G-D-G-A-E

This tuning is two and a half steps down from standard tuning at the low B.



Ostrich Tuning: D-D-D-D-d-d

Ostrich guitar



Ostrich tuning is a tuning where all strings are tuned to the same note[3], creating an intense, chorused drone.