#1
Maybe this will generate some discussion.

I'll say... limit the list to 3 to try to make you think harder about which ones you like? For any style guitar, of course.

Here are mine:

C G C F A E - Basically drop C , without dropping the high E. I randomly ended up in this tuning one day, and really liked it. Very pretty.

C# G# C# G# C# E - I think most widely known as the tuning for the Koyunbaba suite by Domeniconi. Extremely dark and haunting sounding. Is especially sweet on a nylon string.

C G D G D E - Similar to Ka Honu tuning (a Hawaiian slack key tuning) but with the fourth left at D instead of dropped to C.
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#2
I keep a couple of guitars - one classical, one acoustic - in standard D tuning (DGCFAD). Of course this is just standard tuned down a couple of semitones but it is so useful - if I had just one guitar I suspect I would keep it in standard D.

My other most-used alternate tuning is probably double-drop D - (DADGBD -1st and 6th string tuned down to D), then open D and open G.
#4
Way to not use the searchbar, Dreadie.

Sticking with guitar tunings, I am fond of all 3rds tuning. I usually do it on 7 as DF#A#DF#A#D. On a 6 you I guess would omit the low D. The strings are close enough that the tuning can be done without changing strings.

The main advantage is the consist intervals. Chord shapes are moveable not only from fret to fret but from string to string. The shapes are very easy, with majors and their inversions be in 1101, 1011, and 0110 and minors being 1001, 0010, and 0100. Diminished 7s are 3210 and augmented chords are.just barring. Major 7 would be 1100 and minor 7 would be 2110.

Scales are also easy since, due to having four notes between strings and four fingers, you basically get one finger per fret and vice versa and can run scales without ever changing positions or fingerings. Chromatic and whole tone scales are particularly easy.

The only real disadvantage is that due to the fingers of major and minor chords, it cab be difficult or almost impossible to play voicings using more than 4 strings, but with non triad chords it is fairly avoidable.

It's a very good tuning for rolls and tapping and it absolutely excels for playing atonal or non diatonic music, particularly music based on whole tones, augmented arpeggios, tritones, diminished 7ths, and chromatic scales.

That being said it is much better suited to electric guitar.
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#5
G# G# C# F# A# D#

Those who listen to SikTh'll know this tuning well. You essentially drop all your strings by a semi-tone, bar the lowest string which you drop 4 whole tones down to G#. What's interesting is the octave gap between the two lowest strings. Makes for some really interesting riffs. It's also great for easily adding some low-end to chords.
Last edited by Joeseye at Jun 7, 2015,
#6
Quote by theogonia777
Way to not use the searchbar, Dreadie.


I just don't care
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#8
Open D tuning on a 7 sounds huge.

A D A D F♯ A D

You could also get a really thick low string and tune

F♯ D A D F♯ A D
#9
One and a half steps down on an 8 string. I like how evil and heavy it sounds and the very low D#
Last edited by stefan_771 at Jun 7, 2015,
#11
442.5
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#12
This is almost as bad as the million and one "post your favourite chord" threads. Well whatever, here we go: DAC#F#AE (Dmajor9th) DADGCE, FACFAE (Fmajor7, I partial capo the 3rd fret leaving the low F open, giving me the relative minor on the bass) and DADGAD.
#13
Quote by Jimjambanx
This is almost as bad as the million and one "post your favourite chord" threads.


Maybe if you're an uptight dweeb.
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#14
Or an upright dweeb. Bassists, am I right?
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#17
You mean one with half of the strings left off?

Quote by Dreadnought
Nice


Never let a bassist deal cards. Everyone will end up with only 4 cards, since that is how high they can count.
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Last edited by theogonia777 at Jun 7, 2015,
#18
Quote by theogonia777
Never let a bassist deal cards. Everyone will end up with only 4 cards, since that is how high they can count.


And the bassist will always lose since they only ever use 2
#19
Quote by Captaincranky
My favorite alternate tuning is a 12 string that's actually in tune....


Why the ""
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#20
Quote by Dreadnought
Why the ""
It seemed right at the time....

Although, my post was "off topic", in the sense D or E standard tuning, really isn't an "alternate tuning".

Then too, this was in the back of my mind:
Q: How long does it take to tune a 12-string guitar?
A: Nobody knows.
#23
Quote by Jimjambanx
This is almost as bad as the million and one "post your favourite chord" threads. Well whatever, here we go: DAC#F#AE (Dmajor9th) DADGCE, FACFAE (Fmajor7, I partial capo the 3rd fret leaving the low F open, giving me the relative minor on the bass) and DADGAD.


I really like DADGAD as well, but I left it out because I feel like it's one that is already so known and widespread. I mean, it's basically the standard tuning in the culture it's from.

That being said, I recently learned a song in DADF#AD, which is absolutely Hawaiian sounding, and I did not expect that a half-step away
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#24
You mean the standard Open D tuning?
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#25
Yep I suppose so. I've never played in it before.

I'm used to memorizing tunings by the individual strings, not by what I suppose are their more common names.

The problem comes when I want to go through a few tunings at once. I'm learning/relearning 4 pieces right now, and they're all in different tunings. It's a pretty obnoxious process to get through all of them, honestly.
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#26
I keep my 12-string in D# - G# - C# - G# - C# - C#. Basically Mark Tremonti's favorite open tuning variation in C#, but instead of dropping the lowest strings to C# I keep them in D#. It's basically guitar in easy-mode, everything sounds so good.

https://youtu.be/xaFk7UIYyKQ
#27
Quote by Dreadnought
Yep I suppose so. I've never played in it before.

I'm used to memorizing tunings by the individual strings, not by what I suppose are their more common names.

The problem comes when I want to go through a few tunings at once. I'm learning/relearning 4 pieces right now, and they're all in different tunings. It's a pretty obnoxious process to get through all of them, honestly.


As a slide player I never like that one because of the missing low third, but it worked well on 7 string since you can tune the E up to F# and the B to D.
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#28
Yeah I don't really like it for noodling around. I would just bump it back up to DADGAD and throw some squiggly trills and legato all over the place.
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#29
You need Keith pegs on your guitar.
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#30
Ehhh that'd be minutely beneficial, but they're pretty hideous, expensive, and I wouldn't want to do that type of modification to my Edwinson. Not really practical for 6 string changes either.

Not unreasonable for a different/cheaper guitar, but I still don't think I'd be inclined. I normally enjoy the process of changing between tunings, I'm just inadvisedly focusing on these particular songs at once which makes for a headache.
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#31
Quote by Dreadnought
I really like DADGAD as well, but I left it out because I feel like it's one that is already so known and widespread. I mean, it's basically the standard tuning in the culture it's from.

That being said, I recently learned a song in DADF#AD, which is absolutely Hawaiian sounding, and I did not expect that a half-step away


Yeah DADGAD is pretty typical, everyone and their mum's used it at least once, but still, such a versatile tuning deserves a mention. And open D almost is as popular as DADGAD anyway, Masaaki kishibe is the king of that tuning.