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• 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 […]

 

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• Zigzag Thirds (Major) tuning •

F-A-C-E-G-B • OVERVIEW • A ‘stack of thirds’, alternating between major and minor (i.e. semitone gaps of ‘4, 3, 4, 3, 4’). Proposed by Greek mathematician Dr. Costas Kyritsis as an ideal landscape for simplifying the shapes of all common diatonic chords – a logical point, given that much of Western harmony is built from […]

 

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• Gothic tuning •

Eb-G-D-A-Bb-C • OVERVIEW • Introduced by Japanese solo star Ichika Nito to explore fresh avenues of his imaginative electric fingerpicking style. With a different tone on each string, it offers up a complex chordal canvas.   Only 4str stays familiar from Standard. Try raking through the divine natural harmonics at <12fr>, <7fr>, &<5fr>, and sliding […]

 

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• Zigzag Thirds (Minor) tuning •

F-Ab-C-Eb-G-Bb • OVERVIEW • A ‘stack of thirds’, alternating between minor and major (i.e. semitone gaps of ‘3, 4, 3, 4, 3’). Proposed by Greek mathematician Dr. Costas Kyritsis as an ideal landscape for simplifying the shapes of all common diatonic chords – a logical point, given that much of Western harmony is built from […]

 

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• Cello (‘Haircut’) tuning •

C-G-D-A-B-E • OVERVIEW • While the highest two strings of this tuning are left as Standard, the rest are ‘widened’ in range to form a stack of perfect 5ths across 6-5-4-3str – thus matching the tuning of a cello. The treble side also gives open-string access to the next 5th in the sequence: between 3-1str […]

 

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• All Fifths tuning •

A-E-B-F#-C#-G# • OVERVIEW • In many ways, tuning to a cycle of perfect 5ths is very logical. After all, much of the world’s music is constructed via stacks of 5ths – an interval which enjoys natural prominence as the first non-root overtone in the harmonic series (overtone #3 = 1902 cents above the fundamental, a.k.a. […]

 

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• All Fourths (‘Regular’) tuning •

E-A-D-G-C-F • OVERVIEW • A ‘regular’ stack of perfect 4ths (also forming a zigzagging Dmin11 inversion). Essentialy like EADGBE‘s more ‘logical’ cousin – the 3>2str ‘odd one out’ gap is eliminated (5>5>5>5>5), simplifying the fretboard’s geometry, and thus opening up a near-optimal facility for string-shifting mobility. Great for quartal voicings, and the C & F open […]

 

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• Drop C (‘Neon’) tuning •

C-A-D-G-B-E • OVERVIEW • Dropping the 6str down four frets is simple – but will give you a different perspective on how the other open-string tones can fit together. Swapping the low E to a low C turns EADGBE’s somewhat vacant-sounding Em7(add11) open chord into a sultry, jazz-laden Cmaj9(13) voicing.   This drop makes it significantly […]