Using 6-string As A 7-string Guitar

Using A Six-String Guitar As A Seven String. You`ll find here a couple of options how to make this.

9
With many metal bands, nu-metal in particular, using seven strings, there is an increasing demand on guitar manufacturers to make seven strings, so that fans can play just like thier seven-string-wielding heroes. Many manufacturers are now making seven strings, including: Ibanez, Jackson, ESP, Ltd, Yamaha, Washburn, Carver, Epiphone, Squire and B. C. Rich. For people heavily into bands such as Korn, Orgy and Fear Factory, buying a seven-string is usually the best option. However, people who want to play just a couple of Korn or Fear Factory songs, buying a seven string is not economical. This lesson is aimed at these people. I will outline the options avalible, and my own personal techniques for playing certain songs that require a seven string. Detuning. I hardly ever use this technique, although others swear by it. You take your normal six string tuned to EADGBE, and tune it down to BEADGB. These are the pitches of a normally tuned seven string, minus the top string. However, tuning this low with a set of. 09's make the strings flop about and creates heavy buzzing of the strings against the fretboard when played. The strings also drift out of tune very quickly, especially when played hard. These problems can be allieviated in part by changing the strings to a heavier set. When I do this I use 0. 12's or 0. 13's. Anything lighter just doesn't sound good. Also, using this method, very high soloing is impossible, but large string bends are made much easier with the lower tension. A trade off for the lower tension is that excess pressure when fretting a note will cause it to go noticeably sharp, and tone is usually lost around the 18th fret on guitars under $600, with buzzing and fret muffling. For people with Floyd Rose style trem systems however, this is almost as uneconomical as buying as seven string, because unless you can do it yourself (and that still takes time and effort), you have to get your trem restrung with heavier guage strings and tuned down, and then recalibrated for the lower tension, which will cost around 60 ($90). Then you can't play high solos or normal scale shapes, so you either adapt, or shell out some more to get it restrung and retuned again. (If I sound bitter, I am. It cost me 135 in all. ) Some Guitars are custom-built for this sort of tuning, such as the Yamahah Drop-6 and the Fender Subsonic. However, these are expensive alternatives, the Drop-6 costing 300 (450) and the top of the range Subsonic 2000 ($3000). 'Octaving'. This involves either playing the piece an octave up, see Figure 1, or playing an octave up then one down through a pitchshifter set to six tones down, or a Digitech (preferably) Whammy Pedal set one octave down. Playing a hard, heavy riff on the 5th and 4h strings instead of the 7th and 6th, to be honest, sounds crap 90% of the time, so again, I don't usually use this technique. Playing through a GOOD whammy pedal/pitchshifter can give you monstrous heavy riffs just like Dino Cazares etc. but if you play through some knock-off second hand multi-fx pedal's pitchshifter, you're gonna get a pants honky growly 'Satch-gone-mad' sound. Figure One-Intro style riff on 7 string (BEADGBe), and on 6 string (EADGBe) one octave up
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----------------2-----------------2----------------2---------
----------------1-----------------1----------------1---------
-0--0--0--0-0---0--0--0--0-0---0--0--0--0-0---0--0--0--0-0---
B(b5)                                                                         
       B5      E       B5 

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-----------------------------------2b3r2------------4-----
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--------1--------------3-2-3-2-----------3-2-3-2---------- 
------------1-0-1-0-----------1-0-1-0--------------------- 


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-----------------4-----------------4----------------4--------
----------------3-----------------3----------------3---------
-2--2--2--2-2----2--2--2--2-2--2--2--2--2-2---2--2--2--2-2---
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B(b5)                                                                         
       B5       E       B5 

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------------------------------------5b6r5------------------
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--------3--------------5-4-5-4-----------5-4-5-4----------- 
-------------3-2-3-2-----------3-2-3-2--------------------- 
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A variation on this can be used to sound slightly closer to the original, by playing the notes within a six-string's register as they were originally, and not an octave up, as in Figure 2. Figure Two-Intro style riff on six string (EADGBe) in 'semi-octaved' style.
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----------------4-----------------4----------------4----------
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-2--2--2--2-2----2--2--2--2-2--2--2--2--2-2--2--2--2--2-2-----
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B(b5)                                                                         
       B5        E        B5 

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-------3--------------5-4-5-4--2b3r2--5-4-5-4--4------------- 
-----------3-2-3-2------------3-2-3-2------------------------
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Admittedly, there's not much difference, although the arpeggiated B(b5) chords could be played as in Figure 3, but while correct in theory, it sounds stupid. Figure Three-1st phrase of intro style riff played as near as possible to seven string on six string (EADGBe)
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-2--2--2--2-2--2--2--2--2--2-2--2---------
-----------------1-------------------1----
B(b5)
Switching Key. I never used to use this method, but it's growing on me. It does seem like cheating, but you only really notice the difference when you play it against the original. Basically, what it involves is playing every note 2 1/2 tones higher than the original to transpose a seven-string to a six string. Really, that's usually same fret, one string higher, or 5 frets up on the same string. When doing this, the lowest note, B on a seven string, becomes the lowest note, E on a six-string. See figures 4-7 for examples. For notes above the 16th/17th/19th fret (depending on what sort of guitar you own) transpose them up normally to an 'imaginary fret' (a fret above the number your guitar has) 2 1/2 tones above the original, and then take them down an octave from the 'imaginary fret'. See figures 9-11 for a demonstration. Figure Four-Intro style riff on seven string (BEADGBe)
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-----------------2-----------------2----------------2-------
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-0--0--0--0-0---0--0--0--0-0---0--0--0--0-0---0--0--0--0-0--
B(b5)                           B5      E        B5 


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------------------------------------2b3r2------------4-----
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---------1--------------3-2-3-2-----------3-2-3-2---------- 
-------------1-0-1-0-----------1-0-1-0---------------------
Figure Five-Figure Four transposed 2 1/2 tones or switched from key of B to key of E
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-----------------2-----------------2----------------2------
----------------1-----------------1----------------1-------
-0--0--0--0-0---0--0--0--0-0---0--0--0--0-0---0--0--0--0-0-
E(b5)                                  E5      A        E5 

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-------------------------------------2b3r2------------4-----
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----------1--------------3-2-3-2-----------3-2-3-2---------- 
--------------1-0-1-0-----------1-0-1-0---------------------
Figure Six-Riffery on a seven string (BEADGBe)
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-4--4--------4--4---------7--6---4--4--------4--4--------2--
-4--4--------4--4---------7--6---4--4--------4--4--------2--
-2--2--0-0---2--2--0-0----5--4---2--2--0-0---2--2--0-0------
 P.M        P.M                 P.M        P.M           P.M   

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----2h4p2----------------------------------------------------
--------4--4--------4--4---------7--6---4--4--------4--4-----
--------4--4--------4--4---------7--6---4--4--------4--4-----
-----2--2--0-0--2---2--0-0--5----4--2---2--0-0--2---2--0-0---
       P.M                P.M        P.M 

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--------------4/6\4---------        
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----2/4\2-------------------        
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B5     Bsus4   B5
Figure Seven-Figure Six transposed up 2 1/2 tones or switched from the key of B to the key of E
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-4--4--------4--4---------7--6---4--4--------4--4--------2--
-4--4--------4--4---------7--6---4--4--------4--4--------2--
-2--2--0-0--2--2--0-0--5--4----2--2--0-0--2--2--0-0---------
 P.M        P.M                 P.M        P.M          P.M   

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----2h4p2---------------------------------------------------
--------4--4--------4--4---------7--6---4--4--------4--4----
--------4--4--------4--4---------7--6---4--4--------4--4----
----2--2--0-0--2--2--0-0--5--4---2--2-0-0--2--2--0--0-------
       P.M                P.M        P.M 

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---------------4/6\4--------- 
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-----2/4\2------------------- 
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E5 Esus4   E5
It sounds the same, only not as heavy. If you're playing in a band, a good way to make it sound deeper and heavier is to get your bass player to play 'double' or 'twin' figures with you. Basically, they play the same thing as you, but an octave lower. See figure 8. Figure 8-Accompanying Bass (Tuned: EADG) to figure seven.
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-2--2--0-0--2--2--0-0-----4---2--2--0-0--2--2--0-0--0-----
E5                Esus4   E5 

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-2--2--0-0--2--2--0-0------4--2--2--0-0--2--2--0-00-------

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Kick ass! Figure Nine-B pentatoic piece on seven string (BEADGBe)
----------------22p19--------------------------------
-----------22----------22b24-------------------------
-19h21------------------------19h21------------------
-------------------------------------21p19-----------
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0-(let ring)-----------------------------------------
Bmin 

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--------19h21-----------------------------21--------21------21--
-19h21----------------------------------------------------------
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Figure Ten-Figure Nine transposed up 2 1/2 tones to 'imaginary frets' (from key of B to key of E)
-------------27p24-----------------------------------------
--------27----------27b29----------------------------------
-24h26--------------------24h26----------------------------
---------------------------------26p24----------------24h26
---------------------------------------26-------24h26------
------------------------------------------24h27------------
-5-(let ring)----------------------------------------------
Bmin 

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-24h26-26h27p26p24----24--------24------------------
-----------------------------26--------26--------26-
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Figure Eleven-Figure Ten transposed down one octave on a six string (EADGBe)
------------------15p12-----------------------------
------------15-----------15b17---------------------- 
--12h14-------------------------12h14---------------
----------------------------------------14p12-------
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-0-(let ring)---------------------------------------
Emin 

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------------------------12h14--14h15p14p12----12-------12------------------
---------------12h14--------------------------------14--------14--------14-
-----12h14-----------------------------------------------------------------
-12h15---------------------------------------------------------------------
Even though the rest of the piece is one octave down, the low E has just been left as it was, as moving it an octave down would have put it well out of the guitar's register. If you want to make this technique quicker, just take every note down 7 frets (3 1/2 tones), but I demonstrated it the long way for clarity. When doing this however, be careful not to just switch to the next (lower) string and move two frets down, as this creates lots of extra work with fingering on the sixth string. Also, around the second and third string, because of the third string tuning you have to shift over a string and take it down three frets. Inversion. This is all very well, you may be saying to yourself, but the whole point of a seven string is growly power chords and sledge-hammer riffs, and how the hell do I do them on a six-string? The method I use to get the power of a seven string is 'invert' a power chord. Played with distortion it sounds almost identical to the original. Basically, and inverted power chord is a normal 3-note power chord without a bass root note. It's called an inverted power chord, because the 5th is lower than the root. This applys to seven strings, as a power chord with a root on the seventh string can be played identically on a six string as a double stop, whilst retaining the sonic characteristics of the original. Figure Twelve-Power Chords On Seven String (BEADGBe)
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-2------3------4------5------6------7------8------9--
-2------3------4------5------6------7------8------9--
-0------1------2------3------4------5------6------7--
B5    C5   C#5  D5   D#5 E5    F5   F#5   G5    G#5  

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---10------11-----12-----13-----14--------------
---10------11-----12-----13-----14--------------
----8-------9-----10-----11-----12--------------
   A5   A#5   B5(no.2)                         
Figure Thirteen-Figure Twelve played on a six string
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-2------3------4------5------6------7------8------9--
-2------3------4------5------6------7------8------9--
B5    C5   C#5  D5   D#5 E5    F5   F#5   G5    G#5  

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---10------11-----12-----13-----14--------------
---10------11-----12-----13-----14--------------
 A5   A#5   B5(no.2)                           
This sequence can be made to sound heavier, if slightly less authentic, by playing normal power chords when the sequence comes within natural range of the guitar's register, as in Figure 14. Figure Fourteen-Altered seven string derivative power chord sequence.
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-----------------------------------------2------3---
-2------3------4------5------6-----------2------3---
-2------3------4------5------6-----------0------1---
B5    C5   C#5  D5   D#5      E5    F5   F#5  G5    

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---4------5-------6------7------8------9-- 
---4------5-------6------7------8------9-- 
---2------3-------4------5------6------7-- 
G#5  A5   A#5  B5(no.2)                   
For an even more authentic sound, you can add a third note to the double stops, making them a suspended shape, but still sounding like a seventh string powerchord. When played with an upstroke and meaty distortion, they growl like a caged lion. Figure Fifteen-Figure Fourteen with sus2 type double-stop power chords.
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-4------5------6------7------8-----------2------3----
-2------3------4------5------6-----------2------3----
-2------3------4------5------6-----------0------1----
B5     C5    C#5     D5     D#5         E5     F5    

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--4------5-------6------7------8------9--  
--4------5-------6------7------8------9--  
--2------3-------4------5------6------7--  
 F#5    G5      G#5     A5   A#5  B5(no.2)
Figure Sixteen-'Revenge' by Papa Roach. Example of sus2 type double stop power chords. Six string (EADGBe)
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-2----2----4--------5----5----4---------2----2----4----
-2----2----2--------3----3----2---------2----2----2----
-0----0----2--------3----3----2---------0----0----2----
E5    B5   C5       B5       E5        B5        C5    

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----5----5----4-4-4-4-x-7-7-7-7-x-5--4---4--4-4---4-4-
----3----3----2-2-2-2-x-5-5-5-5-x-3--2---2--2-2---2-2-
----3----3----2-2-2-2-x-5-5-5-5-x-3--2---2--2-2---2-2-
   B5         D5        C5       B5               D5  

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x-7-7-x-5--4---4--4-4-
x-5-5-x-3--2---2--2-2-
x-5-5-x-3--2---2--2-2-
 C5 B5               
Find A Bass Player. The Papa Roach tab above is an example of sus2 type chords being used to sound heavy without a seven string. The guitarist, Jerry Horton, tunes down to drop-D (DADGBe), so the pattern of the sus2 is different but it's there. How Papa Roach and many other bands manage to sound really heavy with normally tuned guitars is thzat thier bass player plays the same notes as the power chords/ riffs they're playing, just an octave (or even two) lower. The Bass line for the above riff might go like this Figure Seventeen-'Revenge' by Papa Roach. Example of twin bass & guitar figures. 4-string bass (EADG)
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E5        B5      C5       B5       E5       B5   C5      B5 

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--3----2-2-2-2---------------3--2---2--2-2---2-2-------- 
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D5C5B5                  D5  

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--0-0---------------------------
--3--2---2--2-2-----------------
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C5 B5                          
But how does this apply to a seven string? Simple. If you play either the sus2 doublestop type chords, or just the plain double stops, and politely ask your bass player to play the missing root note or else, you'll be combining your great talents to play as a seven string. Figure Eighteen- Combined bass (EADG) and six string (EADGBe) playing as seven-string
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-----------------------2----------------6h7p6--4--2-----------
-2----2----5-x-4----2-----2----2----------------------2----2--
-2----2----5-x-4----0-----2----2----------------------2----2--

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--------------2---------------7--9-------------
--5-x-4----2-----2----2------------------------
--5-x-4----0-----2----2------------------------

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-2----2----------4-----------2----2---------------------2----2
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B5      D5 C#5 E    B5       E                B5      D5 C#5 E

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---------4-----------2----2---0------0-------- 
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    B5       A                                
Find a bass player, and make up some of your own riffs and stuff. For single notes on the seventh string, there are few options. They can either be played as double stops, or as single notes an octave up, but neither retains the impact of the original. If you have a good whammy pedal, use it for single note lines. If you don't have a whammy pedal, use double stops. If the original note is palm-muted, then palm-muted double stops can sound almost identical, as in this example, the bridge from 'Shoots and Ladders' by Korn. See below for an explanation of the different tuning. Figure Nineteen-'Shoots and Ladders' by KoRn. Example of single notes on a seven string (ADGCFAD) played on a six string.
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------------4-3-----------4-3---------------4-3----------4-3---
-2/3-3-3----4-3--3-3------4-3--2/3-3-3------4-3--3-3-----4-3---
P.M.- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

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-----------------4-3-----------4-3---------------4-3----------4-3--
----2/3-3-3------4-3--3-3------4-3--2/3-3-3------4-3--3-3-----4-3--
 - - - - - -I                                                      
 C5 

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-------------4-3------------4-3-----------------4-3-----------4-3--
-2/3-3-3-4-3-4-3--3-3-4-3-4-3--2/3-3-3-4-3-4-3--3-3-4-3-4-3--------
-2/3-3-3-----4-3--3-3-------4-3--2/3-3-3--------4-3--3-3------4-3--
P.M.- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

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---------------------4-3------------4-3----------------4-3----4-3--
2/3-3-3-4-3-4-3--3-3-4-3-4-3--2/3-3-3-4-3-4-3--3-3-4-3-4-3---------
------2/3-3-3--------4-3---3-3------4-3-2/3-3-3------4-3-3-3--4-3--
- - - -I                                                                
C5
If you play doublestops for single notes with distortion, the two seperate notes will blend into each other, and sound a lot like the original seventh string note, especially if palm-muting is involved. Different Tunings. The most common alternative tuning of a seven string is the one employed by KoRn and Fear Factory. ADGCFAD- a whole tone down. This is a tuning highly suited to being played on a six string, as the lowest note, A or A5, can simply be played by an open double stop on the bottom two strings. All notes on a seven string tuned this way are played two frets down. Figure Twenty-'Blind' by KoRn. Example of ADGCFAD tuning transposed to six string (EADGBe)
------------6------------------------------------------------------
-5-5-5-5-5---------------------------------------------------------
-3-3-3-3-3---------------------------------------------------------
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----------------0h2--0h3----0h2--0h3----0h2-0h3--0h2-0h3-6-6-6--0h2
G#(b5)    A5             D#5  A5                D#5 

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-----------------------3-3-3-3-3-----------------------------
-----------------------1-1-1-1-1-----------------------------
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--------------------------------------0h2--0h3----0h2--0h3---
-0h3--0h2-0h3-6-6-6-------------------0h2--0h3----0h2--0h3---

G#(b5)    A5                                        D#5  A5  

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-0h2-0h3--0h2-0h3-6-6-6--0h2-0h3--0h2-0h3-6-6-6--- 
-0h2-0h3--0h2-0h3-6-6-6--0h2-0h3--0h2-0h3-6-6-6--- 
                                                   
                      D#5                         
The problem with this tuning is open string melodies are much harder to work with and let them all ring out when fretted. Chord shapes also pose slight difficulties. In general though, if there are quick single open string notes, they can usually be ignored without detracting to much from the track. Another tuning is drop-A. (AEADGBe) much the same as drop-D, the bottom string being tuned down a whole tone. This is played the same way as the Korn-Fear Factory type tuning. If you can't tune down your six-string to drop-D for some reason, this double stop method can also be used for the low D and D#s that otherwise couldn't be reached, for example: Figure Twenty-One-'Renagades Of Funk' by Rage Against the Machine. Example of doublestopped D5. Six string (EADGBe)
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-5--7----0------5--7---0----5--7--0----3/5---------
-3--5----0------3--5---0----3--5--0----3/5---------
---------------------------------------------1/3---
C  D  D5   C  D  D5 C  D D5 F G
Figure-Twenty-Two-'Between Angels and Insects' by Papa Roach. Example of doublestopped D5. Six String (EADGBe)
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-0--0--0--0--\5--5--5--5--5--5--0--0--0--0--0--\5--5--5--5--5- 
-0--0--0--0--\3--3--3--3--3--3--0--0--0--0--0--\3--3--3--3--3- 
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D5            C5                   D5                C5       

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-5--2--2--2--2--/5--5--5--5--5--5--2--2--2--2--/5--5--5--5--5--5-
-3--0--0--0--0--/3--3--3--3--3--3--0--0--0--0--/3--3--3--3--3--3-
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A5                       C5                  A5            C5
Also this method works for lower six string tunings, such as ones employed by Slipknot, Mudvayne, Limp Bizkit etc. For a full explanation, see my tab of 'Dig' by Mudvayne (Version 7). Finally, I'll tab out the original version of 'Freak On A Leash' by Korn, so you can compare it to my version already posted on Tabcrawler, and see how I've transcribed it for a six string, using some of the techniques above. Hope it helps! Figure Twenty-Three-'Freak On A Leash' by KoRn. Original Version for Seven-String tuned to ADGCFAD.
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I Intro and Verses- Guitar One, up 8va with pitchshifter          
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Intro and Verses- Guitar Two, with distortion 
D5                            D#5                           D5                

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D#5             D5                D#5  D5    D#5 

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x3 
Pre-Chorus- Guitar One and Two, with distortion. 
D     D(Cbass)           D#5     D 

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I Chorus-Guitar One, with heavy distortion 
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I-4--4--4--4----------------------
I-4--4--4--4---3--3-4--4----------
I-4--4--4--4---4--4-5--5---3------
I-------------------------------3-
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Chorus-Guitar Two, with distortion 

A              E     F#   F5 

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I Bridge part I-Guitar One, with slight distortion and chorus
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|--9--9------------------I-9--9------------9--9----------------
|-----------------------------I--------------------------------
|- - - - - - -  - - - - - -  I P.M.- - - - - - - - - - - - - - 
|                                                              
|                                                              
|---10--10--------I-------10--10-----------10--10--9-10-9------
|------------------------------I-------------------------------
|------------------------------I-------------------------------
|------------------------------I-------------------------------
|------------------------------I-------------------------------
|------------------------------I-------------------------------
|------------------------------I-------------------------------


|-------------------------------------------- 
|-------------------------------------------- 
|-------------------------------------------- 
|-------------------------------------------- 
|-------------------------------------------- 
|----------9--9------------9--9--------9--9-- 
|-------------------------------------------- 
|- - - - - - - - - - - - - - -  - - - - - - - 
|                                             
|                                             
|-----10--10---------10---------------------- 
|-------------------------------------------- 
|-------------------------------------------- 
|-------------------------------------------- 
|-------------------------------------------- 
|-------------------------------------------- 
|-------------------------------------------- 


          x3 
Bridge part I-Guitar Two, with slight distortion and chorus 
N.C. 

I--------------------------------------------------------------
I--------------------------------------------------------------
I--------------------------------------------------------------
I--------------------------------------------------------------
I-4---------5------6------7---4---------5------6------7---4----
I-4---------5------6------7---4---------5------6------7---4----
I-2---------3------4------5---2---------3------4------5---2----
Bridge part II-Guitar One and Two, with heavy distortion 

B5          C5   C#5      D5 B5         C5    C#5     D5 B5    

-------------------------------------------------
-------------------------------------------------
-------------------------------------------------
-------------------------------------------------
-----5------6------7---4---------5------6------7-
-----5------6------7---4---------5------6------7-
-----3------4------5---2---------3------4------5-
    C5     C#5     D5  B5       C5     C#5    D5 


I-----------------------------------------
I-----------------------------------------
I-----------------------------3--3---4----
I-----------------------------4--4---5---3
I-9--9---9--9-9------------4--4---5---3---
I-7--7---7--7-7------------2--2---3---1---
I-0--0---0--0-0-0-0-0-0-------------------
Outro Chorus-Guitar One and Two, with distortion 
A5                         E     F#  F5 

I---------------------------------------------I----------------
I---------------------------------------------I----------------
I-----------------------------3--3--3--4------I----------------
I-----------------------------4--4--4--5---3--I----------------
I-9--9---9------------------4--4--4--5---3----I-9--9---9-------
I-7--7---7------------------2--2--2--3---1----I-7--7---7-------
I-0--0---0--0-0-0-0-0-0-----------------------I-0--0---0-0-0-0-
I Outro-Guitar One, with distortion                I 
I                I 
I-7---------(19)--(7)-------7--------8----5---------I-7--------
I---------------------------------------------------I----------
I---------------------------------------------------I----------
I---------------------------------------------------I----------
I---------------------------------------------------I----------
I---------------------------------------------------I----------
I---------------------------------------------------I----------
A5                         E     F#  F5      A5

|------------------------------ 
|----------------------------0- 
|-----------3--3--3--4---0----- 
|-----------4--4--4--5---3----- 
|-----------4--4--4--5---3----- 
|-----------2--2--2--3---1----- 
|0-0-0-0----------------------- 
|                                  
|                                 x3 
|-(19)--(7)-------7-----8----5- 
|------------------------------ 
|------------------------------ 
|------------------------------ 
|------------------------------ 
|------------------------------ 
|------------------------------ 
  E       F#  F5
Outro-Guitar Two, with distortion and pitchshift There ya go! Until next time, keep the (sic)ness going, and listen to Zack Wylde, kids!

28 comments sorted by best / new / date

comments policy
    andrasiboti
    too much effort....no1 makes 7 string tabs anyway i find..
    just type in Korn nd you'll see how popular 7 string tabs r!
    Gundam pilota09
    pretty pointless actually. doesn't even touch traditional 7 string techniques. IMO the only difference between 6 string technique and the 'modern' seven string technique you covered here. would have been great if you touched on the old jazz and classical technique but still good.
    Bonceyrogs
    The best way to go about it, in my opinion, is buying a 7 string set and missing off the top e string. I gig quite often with my band around my local area, but my only guitar is an ibanez S type with the ZR bridge. That takes quite a while to restring, and even tune in some cases. So I bought a cheap guitar off ebay. Yes, they're not brilliant, but for what i was going to use it for, I cant complain. Got a LP copy for about 50 quid, and just put the 7 string set on. No problems with string tensions or anything with the tune-o-matic style bridges. It's great for stuff like messhuga (or however you spell it) who dont use the thinnest 3 strings in most of their songs anyway. I think the only problem i've had is the crap pickups, but you can easily pick up (no pun intended) some cheap high output ones on ebay.
    STorpedo
    If anybody's interested, or not, recentley found out that ltd makes everything-still esp and ltd are the same brand imo
    STorpedo
    not to sound like a prick or anything, but LTD isnt a seperate guitar company, it stands for limited edition, and is a division of ESP that makes signature guitars. Didnt read all of this (cause whats the point of hassling over a 6 string when u can just get a 7), but looks in depth. P.S. Jwinger, the growly tone comes from a higher gauge, pickups, wood, and a good player, not from the fact that its a 7 string lol.
    DroptheBomb
    tthis lesson is pretty much void to me cuz i own a 7-string :} but a very good lesson.
    Lefty27
    Simple. Buy a pack of seven strings, put the 6 biggest gauges and play. There's no need for the high e. My tuning for this is... C# with Low G#. This is a heavy tuning style, it's Architects (UK) and Pantera mixed together... And if you want the official heavyness, calibrate your tuner to 430... PS: Best guitars for heavy tunings are Schecters!!!
    amberton111797
    this sounds really good but i don't understand it. could you convert the chords for Hushabye by Korn, because i really want to play it for my class in school
    The Necrotizer
    Great Article, But if your that into playing in B standard and below just buy a damn seven string!!! It's also really not that hard to tune anything but the cheapest of six strings to B standard just use .011 - .052's or something similar and raise your bridge action until the string tension against your right hand is ok. That will still sound better than using inverted fifths or an octave pedal / pitch shifter.
    andrasiboti
    ##_Guitar-newb wrote: too much effort....no1 makes 7 string tabs anyway i find..
    just type in Korn nd you'll see how popular 7 string tabs r! yup that's better! ;P @##_Guitar-newb no offence but your name suits you! ;D
    jwinger
    I got a schecter and I just put the 6 heaviest strings on there and it worked fine. I'm gonna buy a seven string anyway, just cause you get such a "growly" tone from a 7 string guitar that you can't get from a 6 string.
    RXQueenRed
    i am really new to the acoustic and my guitar will be arriving tomorrow. Also, i am new to this site as well. i was just wondering, is there a possible way to play a 7 string tablature on a 6 string acoustic?
    Dr. B
    I can attest that the down-tuning to B and using 12's is the best way (Dean Markley make some with a wound 3rd string that sound great). However, if you ever want to use standard tuning it's a lot of pain getting it back. I have tried the pitch shifting down 5 semi-tones (with the Zoom 707) and it sounds very muddy. But maybe with some EQing it could sound okay. I am going to experiment with this more.
    Spanner
    Sorry for being so mean I just found it really pointless you explained it well though
    Coil Tap
    Very thorough. Actually, I was pretty much waiting to see you get to inverted fifths, and you didn't disappoint. One thing I tried for lowering my guitar's pitch while keeping the ability of the higher strings was setting my effects pedal (a Zoom GFX-707 multi-effects unit) to lower the pitch a fourth (5 half steps down) with the pedal depressed, and back to normal with the toe up. It doesn't sound quite as artificial as setting it down one octave, and by raising the pedal, the pitch is standard again. (Pedal down: B E A D F# B; pedal up, E A D G B E.) The downsides are that it still sounds kind of artificial (because, well, it is), and although you could potentially keep the full range of a 7-string with this method, it could get complicated figuring out whether you need the pedal up or down in a song while trying to transpose stuff. I actually gave up on doing this, but if anyone wants to give it a try and stick with it, it may help you more than it helped me. (If you actually want to try this, make sure you raise the pedal and go back to standard before playing on the top strings. A 7-string is B E A D G B E, but this effect really gives you more of a baritone tuning, B E A D F# B. That whole F#/G thing might throw you off, so I don't recommend trying the high strings with this effect active.) Another suggestion that I found in Guitar World (for playing a certain Korn song). Korn usually tune their 7-strings 1 whole step down, A D G C F A D. The suggestion I saw in Guitar World was to try tuning your 6-string A D G F A D. The C is sacrificed, so you'll probably have to use weird chord shapes and change some riff positions when going between those strings. The advantage is being able to maintain the range. You might also want to try something that Zakk Wylde does on some songs, tuning the low E down to a B and leaving the rest in standard tuning (B A D G B E). Again, the whole range is there; you just have to compensate with different chord shapes if you want to do chords on the bottom strings. However, Zakk actually uses the weird tuning to his advantage on the Black Label Society song "Final Solution," where the main riff involves him hitting the bottom three strings open for a heavy Bm7 chord.
    StuartR
    and if i got a six string guitar how could i tune it like a seven string.
    Tune it: 1st: B 2nd: G 3rd: D 4th: A 5th: E 6th: B Using a heavy gauge.
    bob_the_dentist
    I do the whammy pedal option, and it works fine, but you have to tune the b string up a half step.
    TWF
    I play with 7-string-strings and -tuning on 6-string-guitar for some time now and it works fine but as i play many classic I miss the high e-string. @##_Guitar-newb: There are many tabs for 7-string-guitars and you can play every normal tuned song on it.
    Instrumetal
    ##_Guitar-newb wrote: too much effort....no1 makes 7 string tabs anyway i find..
    That's a stupid thing to say... I don't play ANYTHING that requires 7 strings, but its a good thorough lesson, to be sure. Now how bout 8 strings, a la Meshuggah?
    RockHunni
    why would it cost that much 2 get your guitar restrung and retuned, buy the strings and do it yourself n it hardly costs anything
    Spanner
    And my comment above that poast was "let me just say that this is the biggest load of shit I have ever seen"
    Lude_Smurf
    Just buy a package of 7 strings. Get rid of the middle string (mid d string) & play around it. Like Coil Tap says Guitar World suggests. Although stringing your guitar this way will pretty much make it useless for any other tuning.
    Corporal
    Is it possible to buy a packet of strings for a 7-string guitar and install them on a regular 6-string guitar, leaving out the thinnest string?