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You know, one that isn't obvious. I want to broaden my horizons.
D A D Gb A E
you can play broken social scene's i'm still your fag on it if you like
the numetal tuning.
or 'the retard tuning'
its semi clever/useful until an entire genre of bands had guitarists who do that because you can play power chords by just laying one finger over three strings anywhere along the neck and going up and down.
my irony/comedy/sarcasm detector completely fails on here for some reason.
so i'll let you off!
I find the combination of the time it takes to re-tune the guitar and the risk of breaking a string prevents me from using alternate tunings live. Well, that and the fact that my playing tecnhique is rudimentary at best.
DGDGBC# over the weekend. It's wonderfully droney and creepy. Works quite nicely with slide too.
Stephen Stills uses: EbEbEbEbBbEb
Thurston Moore uses: F#F#F#F#EB
My favourites are still open G (DGDGBD)
DADGAD is pretty cool...if you ignore the fact you can just stick a finger across a fret and make a chord, and invent some groovy shapes
CFCGBE (4th of July)
DGDGBC (Like Suicide)
CGCFGC for my grindcore band. its quite low.
DADGAD for my main band.
and CC#EA#AC for my drone band.
is good for the drones. Oh yes. Finger right across the fret gives you a sus4 chord. CADGAD is good for some serious BEFF. Am now having a bang at that DGDGBC# thing. Sounds nuts! Cheers.
Here is a very interesting tuning, I use sometimes, invented by Robert Fripp: (lo to hi) C - G - D - A - E - G
You might find this is hard to get to grips with, seeing as the first four strings are tuned in fifths. Additionally, tuning the hi-E up to a G will cane that string and you pretty much won't be able to bend it - the amount of times I've lacerated myself is ridiculous.
However, the kinds of chords you can come out with using this tuning makes it worth it and you have the benefit of an extra third's worth of range either side.
that one sounds ace!
I'd also suggest E - A - D - G - C - F. Tuning the whole instrument in fourths is obvious, but quite useful.
You can now move any chord shape to any other position on the fretboard without altering its harmonic structure, which has all kinds of applications whether you're doing some two-handed tapping shit or maybe just want execute cool-sounding slides up and down the fingerboard.
thank you for all the replies.
I will spend this morning experimenting.
12 note equal temperament octave and start again. Seriously it's interesting stuff, I always thought the 12 note scale was a natural way to divide up sound aparently it is not it is very artificial and western and the notes are not related in the pure ratios that makes notes sound good together but are slightly out to allow more than one key to be played or something,I cant explain it http://www.yuvalnov.org/temperament/
you cant do that on a guitar unless it's fretless
...especially when I'm singing.
Does it still count if it wasn't intentional?
Drop D gets a bad rep because of the one finger power chord thing. The haters don't realise the other fingers can be put to use coming out with all kinds of augmentations and inversions - especially when playing in concert with an inventive bassist.
C, G, C, G, B, E
I use quite a few in my band, it gets annoying changing tuning live after a while though despite having a second guitar.
F# B E F# B E
E A E G B E
E A C G B E
D A D G D E
A E D G B E
the Fripp tuning posted further up is amazing, worth using a thinner gauge string for the top F though to avoid pain.
wow. Thanks Nick Drake.