line

• Haja’s Bb (‘Bighand’) tuning •

Bb-F-C-F-Bb-C • OVERVIEW • ‘Haja’ (pronounced ‘Adz’) is an innovative modern-generation guitarist from Madagascar. His exuberant, rhythmic playing style fuses elements from across the island’s wealth of sonic traditions – showcased via breathtaking solo electric performances as well as in his long-running fusion group Solomiral.   His preferred layout (equivalent to Orkney -2), adapted from […]

 

line

• Yvette’s Dadd9 tuning •

D-A-D-F#-A-E • OVERVIEW • A melodious Open D variant, which retains Standard’s high E1str tone to give a spacious Dadd9. Pleasingly, the 6-2str intervals are arranged in descending order of width, narrowing in neat sequence as you go towards the treble (7>5>4>3: 5th > 4th > maj. 3rd > min. 3rd) – until you encounter […]

 

line

• Godzilla tuning •

Db-Ab-Eb-E-B-E • OVERVIEW • Jagged, uneven sequence used on Godzilla by Canadian-Mi’kmaq acoustic star Don Ross. Blends high-end clarity with a touch of bassy slack – ideal for his rhythmic thumb-slapping style.   Brings out tantalising, part-resolving harmonies, mixing perfect intervals (5ths & 4ths) with more dissonant separations (minor 2nds & 6ths). Features an ultra-rare ‘perfect […]

 

line

• Dracula tuning •

C-G-C-F-Bb-D • OVERVIEW • A deepened tuning showcased on Dracula and Friends (Pt. 1) by Mi’kmaq-Canadian fingerstyle virtuoso Don Ross (who thankfully deviated from his original career plan: he was once enrolled in priesthood training at at San Damiano Friary, set to become a Franciscan friar…).   Robust interval pairs, set in neat descending order (perf. […]

 

line

• Schizophrenia tuning •

F#-F#-G-G-A-A • OVERVIEW • Highly unorthodox droning triad used by Thurston Moore on Sonic Youth’s Schizophrenia (1987) – a Joy Division-like song that explores the tuning’s strange slacknesses with long, wordless interludes, replete with dreamy harmonics and a slight microtonal spice. Requires a thinner 4str.   Contains nothing but three sequential diatonic scale tones, all […]

 

line

• Charango tuning •

G-G-C-E-A-E • OVERVIEW • Mimics a common tuning of the charango: a small 10-string lute found in Peru, Ecuador, Bolivia, Chile, and elsewhere in the Andean region. A distant cousin of the guitar, the charango’s strings are paired into 5 ‘courses’ (like a 12-string) – and tuned to cluster within the span of a single […]

 

line

• Alphabet tuning •

A-B-C-D-E-F • OVERVIEW • ‘Alphabet’ tuning, while admittedly easy to remember, isn’t exactly the most melodically (or physically) practical. Nevertheless, there is always unique value to be found in embracing some creative chaos – in this case, via exploring the arbitrary nature of ‘Alpha-melodic’ tunings (i.e. those with notes chosen via some spelling-derived method).   These […]

 

line

• Jack’s Chikari (‘Sitaristic’) tuning •

Ḋ-Ḋ-D-G-B-E • OVERVIEW • My fellow British-based Indian raga explorer Jack Jennings replaces his Strat’s 6+5str with super-light gauges, both tuned to high D tones, in imitation of a sitar‘s chikari: two unfrettable ‘rhythm strings’ on the top side of the large Indian lute, used to add groove and textural colour to the main melody […]

 

line

• Road tuning •

E-A-D-E-B-E • OVERVIEW • Nick Drake’s beautifully concise tuning for Road (from 1972’s Pink Moon) – itself a beautifully concise track – is a glorious way to spark up fresh inspiration. Plus, it’s only a single peg-slacken away from Standard…   The ‘suspended‘ open chord is fairly easy to settle into, as the ‘new’ 3str […]

 

line

• Black Crow tuning •

Bb-Bb-Db-F-A-Bb • OVERVIEW • Deep-sided tuning used by Joni Mitchell for Black Crow, track seven of her 1976 Hejira album – surely among the funkiest drum-less songs of all time (…just the trio of Joni, Jaco Pastorius on bass, and Larry Carlton on electric). Much of the percussive spice instead comes from her own low […]