Guitar tunings

Guitar tunings
Guitar tunings describe the pitch of open strings. The standard tuning EADGBE lists the string-pitches from lowest (low E) to highest (high e'). Standard tuning is used by most guitarists, and most other tunings can be understood as variations on standard tuning. This article's discussion of standard tuning introduces the terminology for discussing alternative tunings.

Guitar playing range in standard tuning.

Nonstandard tunings are also called "alternative" or "alternate". Some tunings are used for particular songs by professional guitarists, and may be called after the song's title. There are hundreds of such tunings. Fewer alternative tunings are used regularly by communities of guitarists, who share a musical tradition. The hundreds of alternative tunings have been classified into a smaller number of categories. Two categoriesopen, both major and minor (crossnote) and miscellaneous ("special")are discussed by both Denyer and Sethares. Four additional categories are provided by Denyer (modal and dropped)[1] and by Sethares (instrumental, based on other stringed instruments, and regular).[2]

Standard tunings and alternatives

This summary of standard tuning also introduces the terms for discussing alternative tunings

Standard Helmholtz notation

Note: This article uses Helmholtz pitch notation to define guitar tunings.

Standard tuning is by far the most popular tuning on a 6-string guitar. It consists of the following notes.

Guitar standard tuning (actual pitches sound one octave lower than notated).

Notes in standard tuning.

Guitar tunings

String

Note Frequency Scientific pitch notation 329.63Hz 246.94Hz 196.00Hz 146.83Hz 110.00Hz 82.41Hz E4 B3 G3 D3 A2 E2

1 (Highest) e' 2 3 4 5 b g d A

6 (Lowest) E

The pitches referred to above are referenced standard pitch (a' = 440.0 Hz.). In some regions of Europe, especially Germany, Serbia and Poland, and in Russia and Ukraine, where classical musicians use the German system, the B natural is indicated with the letter H: in music notation, H is B (B natural) and B is B (B flat). The guitar, as conventionally fretted, is an equal tempered instrument. The guitar is a transposing instrument. In the case of the guitar, its actual pitches sound one octave lower than notated. Letter names in the table reflect pitch in Helmholtz pitch notation. This pattern can also be denoted as E-A-d-g-b-e'. (See note for an explanation of the various symbols used in the above table and elsewhere in this article.) Standard tuning has evolved to provide a good compromise between simple fingering for many chords and the ability to play common scales with minimal left hand movement. The separation of the first (e') and second (b) string, as well as the separation between the third (g), fourth (d), fifth (A), and sixth (E) strings by a five-semitone interval (a perfect fourth) allows notes of the chromatic scale to be played with each of the four fingers of the left hand controlling one of the first four frets (index finger on fret 1, little finger on fret 4, etc.). It also yields a symmetry and intelligibility to fingering patterns. The separation of the second (b), and third (g) string is by a four-semitone interval (a major third). Though this breaks the fingering pattern of the chromatic scale and thus the symmetry, it eases the playing of some often-used chords and scales, and it provides more diversity in fingering possibilities.
I open 1st fret (index) 2nd fret (middle) 3rd fret (ring) 4th fret (little) 1st string 2nd string 3rd string 4th string 5th string 6th string e' b g d A E f' c' a e B F f' c' a e B F g' d' b f c G a' e' b f c A

Chromatic note progression

Alternative: Introduction
Alternative ("alternate") tuning refers to any open-string note-arrangement other than standard tuning. Such alternative tuning arrangements offer different chord voicing and sonorities. Alternative tunings are common in folk music, where the guitar emulates indigenous instruments with distinct drones and sound. Alternative tunings necessarily change the chord shapes associated with standard tuning, which eases the playing of some non-standard chords at the cost of increasing the difficulty of some standard chords.

Guitar tunings Many alternative tunings are difficult or impossible with conventional sets of guitar strings, which have gauges optimized for standard tuning. With conventional sets, some higher tunings increase string-tension until playing requires more finger-strength and stamina or even until a string snaps or the guitar is warped; with lower tunings, strings may be lose and buzz. Therefore, many alternative tunings benefit from re-stringing of the guitar with different gauges. Extreme tunings may require further adjustments to the guitar. Alterations of the truss rod, the nut, and the bridge may be required. In some tunings, such as those requiring the substitution of a Bass guitar string on a regular 6 string guitar, fitting different components will be required to cope with the different gauges used.

Open
An open tuning in guitar is one where the strings are tuned so that a chord is achieved without fretting, or pressing any of the strings. With such a tuning, other chords may be played by simply barring a fret or through the use of a slide. Open tunings are common in blues music and some rock and folk music. They are particularly used in steel guitar and bottleneck guitar playing. When performing and recording, musicians will often employ simultaneous multiple tunings, i.e. separate instruments in different tunings sounding at once. For example, on several of his early recordings 1980s session guitarist David Persons used multiple tunings together, including standard six string and open tuning (e.g. standard tuning playing in E major and Open E tuning). Due to the resulting natural intervals (i.e. non-equal temperament) this practice produces complementary counterpoint with unusual harmonies and dissonance.[3]

Major
Major open tunings (giving a major chord with the open strings) include (all from low to high): Open A: E-A-C-E-A-E Alternatively: E-A-C-E-A-C "Slide" Open A: E-A-E-A-C-E (identical to Open G tuning but with every string raised one step or two frets) (used by Oxbow on the song "Woe" from the album King of the Jews and The White Stripes on Seven Nation Army). Open B: B-F-B-F-B-D Alternatively: F-B-D-F-B-D Open C: C-G-C-G-C-E (Widely used by Devin Townsend and John Butler) Alternative: C-G-C-E-G-C (used by Oxbow on the 2007 song "It's the Giving, Not the Taking" and Needtobreathe on "Lay 'Em Down") Open C tuning for 7 string: G-C-G-C-G-C-E (Also used by Devin Townsend while in Strapping Young Lad; also used by Soundgarden) Open D: D-A-D-F-A-D (Also known as vastopol or vestopol tuning.) Alternatively: D-A-D'-A'-D-D(Used by the Stone Roses in 'Love Spreads' and frequently by the Goo Goo Dolls). Open E: E-B-E-G-B-E (use light gauge strings because three strings must be raised)(used by Keith Richards on Salt of the Earth, Prodigal Son, and by Bob Dylan on his 1975 album Blood on the Tracks) Open F: F-A-C-F-C-F

Open D tuning.

Guitar tunings Alternatively: C-F-C-F-A-F (used by: Elizabeth Cotten on her song "When I Get Home"; Oxbow on the songs "...The Stick" and "Skin") F-Sharp Tuning: F-A-C-F-C-F Open G: D-G-D-G-B-D (also known as Spanish Tuning or Chicago Tuning) Open G was used in rock by Keith Richards of The Rolling Stones as well as in Mississippi blues by Son House, Charley Patton, and Robert Johnson, and in "Fearless" by Pink Floyd.[4] Open G-plus: G-G-D-G-B-D (also known as G-modal or Weber's Secret Tuning Number Eleven or Rockford Tuning) Open G-plus was used by Ben Weber of BenWebersDemos to write and record his song "Country Road" Alternatively: G-B-D-G-B-D (slack-key guitar taro patch) Alternatively: C-G-D-G-B-D (used by Big Wreck on multiple songs, most notably "Inhale" and "Mistake"). dobro Open G: G-B-D-G-B-D (occasionally adopted for ordinary guitar, but requires lighter fifth and sixth strings). Russian Open G: D-G-B-D-G-B-D (the standard tuning for the Russian seven string guitar).

Minor: Cross-note
The below open tunings use a minor third, and give a minor chord with open strings. To avoid the relatively cumbersome designation "open D minor", "open C minor", such tunings are sometimes called "cross-note tunings". The term also expresses the fact that, compared to Major chord open tunings, by fretting the lowered string at the first fret, it is possible to produce a major chord very easily. Cross-note or open E-minor was used by Bukka White and Skip James.[5] Cross-note tunings include (low to high): Cross-note A: E-A-E-A-C-E Alternative: E-A-C-E-A-E (rare) Cross-note C: C-G-C-G-C-E Alternative: C-G-C-E-G-C (used by Oxbow on the 1996 songs "Stallkicker," "Sorry," and the 2007 songs "A Winner Every Time" and "Time Gentlemen, Time," etc.) Cross-note D: D-A-D-F-A-D (used by Oxbow on the 1991 songs, "Angel," "Cat and Mouse," etc.) Cross-note E: E-B-E-G-B-E (used by ZZ Top on the song "Just got paid today" and by Joey Eppard on the 3 (band) song "Bramfatura") Cross-note F: F-A-C-F-C-F (extremely rare) Alternative: F-C-F-A-C-F (used by Albert Collins; requires light gauges) Cross-note G: D-G-D-G-B-D Alternative Cross A: E-A-E-A-E-A. Sitar A - an alternative low guitar system. Recalls the sound of Indian sitar.

Guitar tunings

Modal tunings
In modal tunings, the strings are tuned to form a chord which is not definitively minor or major. These tunings may facilitate very easy chords and unique sounds when the open strings are used as drones. Often these tunings form a suspended chord on the open strings. A well known user of modal tunings is Sonic Youth. Asus2: E-A-B-E-A-E Asus4: E-A-D-E-A-E Bsus4: B-F#-B-E-F#-B (DADGAD but 3 steps (1 1/2 note) lower, used by Sevendust on the song "Live Again" and on much of their Cold Day Memory album.)
D modal tuning.

C6: C-A-C-G-C-E (used by Jimmy Page in Bron-Yr-Aur) Open Page: D-G-C-G-C-D (used by Jimmy Page in The Rain Song) Csus2: C-G-C-G-C-D (first five strings equivalent to Double-C tuning for the banjo) Csus4+9: C-G-C-F-C-D Csus4: C-G-C-G-C-F C15: C-G-D-G-C-D Low C: C-G-D-G-A-D Dsus2: D-A-D-E-A-D Dsus4: D-A-D-G-A-D Esus2: E-B-E-F-B-E (used by My Bloody Valentine in Only Shallow and by John Mayer in "Something's Missing" and "In Your Atmosphere"). Esus4: E-B-E-A-B-E G6: D-G-D-G-B-E Gsus2: D-G-D-G-A-D Gsus4: D-G-D-G-C-D (first five strings equivalent to Sawmill tuning for the banjo) Gsus4/4 / Orkney Tuning: C-G-D-G-C-D E modal: E-B-E-E-B-E (used in CSN's "Suite Judy Blue Eyes") G modal: G-G-D-G-B-D B modal: B-F-C-F-B-D A# modal: A#-F-A#-D#-G-A# (used by Neil Young on his 1962 Martin D-28)

Regular tunings
For the standard tuning, there is exactly one interval of a third between the second and third strings, and all the other intervals are fourths. In contrast, regulartunings have equal intervals between the strings, and so they have symmetrical scales all along the fretboard.[6]

All fourths
E-A-d-g-c'-f' This tuning is like that of the lowest four strings in standard tuning.[7][8] It is used by Stanley Jordan, who is proficient at two-handed tapping.

Guitar tunings

All fifths: "Mandoguitar"

C-G-d-a-e'-b' All-fifths tuning is a tuning in intervals of perfect fifths like that of a mandolin or a violin; other names include "perfect fifths" and "fifths".[9] It has a wide range. Its implementation has been impossible with nylon strings and has been difficult with conventional steel strings. The high b makes the first string very taut such that it will break easily). All-fifths tuning has been approximated with tunings that avoid the high b' or the low C. The b' has been approximated with a g' in the New Standard Tuning of KingCrimson's RobertFripp, which has been taught in Guitar Craft courses.[10][11] Guitar Craft, which has been succeeded by Guitar Circle, has taught Fripp's tuning to three-thousand students.[12] After studying with Fripp's Guitar Craft,[11] The California GuitarTrio commissioned a luthier to build them guitars for all-fifths tuning.

Augmented fourths
C-F#-c-f#-c'-f#' and B-F-b-f-b'-f' etc. Between the all-fifths and all-fourths tunings are augmented-fourth tunings, which are also called "diminished-fifths" or "tritone" tunings. With augmented-fourths tunings, the fretboard has greatest symmetry.[13] In fact, every augmented-fourths tuning lists the notes of all the other augmented-fourths tunings on the frets of its fretboard. Professor Sethares wrote that "The augmented-fourth interval is the only interval whose inverse is the same as itself. The augmented-fourths tuning is the only tuning (other than the 'trivial' tuning C-C-C-C-C-C) for which all chords-forms remain unchanged when the strings are reversed. Thus the augmented-fourths tuning is its own 'lefty' tuning."[14] Of all the augmented-fourths tunings, the C-F#-c-f#-c'-f'# tuning is the closest approximation to the standard tuning, and its fretboard is displayed next:
Tritone: [14] Each fret displays the open strings of an augmented-fourths tuning 1st fret 2nd fret 3rd fret 4th fret 5th fret

open (0thfret) 1st string 2nd string 3rd string 4th string 5th string 6th string f '# c' f# c F# C

g' c'# g c# G C#

g'# d' g# d G# D

a" d'# a' d# a D#

a"# e' a#' e a# E

b" f' b' f b F

There are no sharps in the open strings of exactly one augmented-fourths tuning, that with only BandF notes (B-F-b-f-b'-f'); this tuning would appear to the left of the open strings, at the negative-first fret, for the C-F# augmented-fourths tuning displayed. The BF augmented-fourths tuning was used in "Tri7/5" by ShawnLane (Powers of Ten; Live!). This BFtuning "makes it veryeasy for playing half-whole scales, diminished7 licks, and wholetone scales," stated RonJarzombek, who used it for "A Chaotic Realization Of Nothing Yet Misunderstood (ACRONYM)".[15]

Guitar tunings

Shifted tunings
These tunings are derived by systematic increases or decreases to standard tuning.

Lower tunings
Derived from standard EADGBE, all the strings are tuned lower by the same interval, thus providing the same chord positions transposed to a lower key. Lower Tunings are popular among rock and heavy metal bands. The reason for tuning down below standard pitch is usually either to accommodate a singer's vocal range or to get a deeper/heavier sound.[16] D/E tuning - D-G-C-F-A-D / E-A-D-G-B-E D tuning. Half a step down from standard tuning. Used by bands/artists such as: Jimi Hendrix, early Black Sabbath, Motrhead, Cannibal Corpse (up until The Bleeding), Nirvana, Rise Against, Failure, Weezer, Green Day, Kiss, The Hellacopters, Backyard Babies, Guns N' Roses, Van Halen, Brand New, Metallica (in the 1990s), Slayer, Rage Against The Machine, Stevie Ray Vaughan, Yngwie Malmsteen, Alice in Chains, The Smashing Pumpkins, The Killers, Relient K, Suede, RED on "Not Alone", Beach House, Third Day (on "I Can Feel It"), and Skillet (on "A Little More"). D tuning - D-G-C-F-A-D One full step down from standard tuning. Used by bands/artists such as, Motley Crue's Mick Mars, Pantera, Dimmu Borgir, Cradle of Filth, Drive-By Truckers, Children Of Bodom, Symphony X, Oceansize, Death, Decrepit Birth, Dream Theater, All That Remains, Exodus, Gojira, Shadows Fall, Mastodon, Lordi, and Kreator. Used in a vast majority of songs by musician Elliott Smith. Also used in Nirvana's songs "Come As You Are", "Lithium" and "Drain You", by Metallica in their song "Sad but True" and on "Devil's Dance", also used by Metallica on some covers of Garage Days Re-revisited, "The Small Hours" and "Crash Course In Brain Surgery"; by Bullet for My Valentine in several songs on Scream Aim Fire, and by John Fogerty. C/D tuning - C-F-B-E-G-C / D-G-B-E-A-D One and a half steps down. Famously used by Black Sabbath's Tony Iommi in the 1970s, as well as Carrie Brownstein, Dimebag Darrell of Pantera, Eyehategod, Dying Fetus, Anata, Corin Tucker of Sleater-Kinney, Between the Buried and Me, Down, All That Remains, Pete Loeffler of Chevelle (on Wonder What's Next), Billy Howerdel of A Perfect Circle and Ashes Divide, Wes Borland of Limp Bizkit, Slayer (on Gemini from Undisputed Attitude and God Hates Us All), and Stone Sour, as well as Jim Root's other band Slipknot on the song "Snuff". Also used by Kyuss on songs "Isolation" and "Space Cadet". Used by Metallica on the song "Bad Seed" from the album Reload. C tuning - C-F-B-E-G-C / C-F-A-D-G-C Two full steps down from normal tuning. Used by bands such as Queens of the Stone Age, Kyuss, Spiritual Beggars, In Flames (until Clayman), The Black Dahlia Murder, Architects, First Signs Of Frost, Dismember, Dethklok, Immolation, Cold, Dream Theater, Arch Enemy (since the Angela Gossow era), Entombed, Amaranthe, and The Smashing Pumpkins. B tuning - B-E-A-D-G-B / B-E-A-D-F-B Two and a half steps down from standard tuning. Used in Swedish death metal by bands such as At The Gates, Dismember, Entombed, Amon Amarth, and Arch Enemy (during the Johan Liiva era), as well as Carcass, guitarist Kenny Hickey of Type O Negative and Seventh Void, Five Finger Death Punch, Lacuna Coil, Fleshgod Apocalypse, Sepultura, Soulfly, Within Temptation, and guitarist Kirk Windstein of Crowbar and Kingdom of Sorrow. A/B tuning - A-D-G-C-F-A / B-E-A-D-F-B Three full steps from standard tuning. Used by Dream Theater, Adema, Cannibal Corpse, Morbid Angel, Slayer

Guitar tunings (on War Zone and Here Comes the Pain from God Hates Us All), and American Head Charge. A tuning - A-D-G-C-E-A Three and a half steps down from standard tuning. Used by THEMES, Korn, Taproot, Yob (band) and Dystopia. Also used by Slipknot on songs from their album Iowa and Psychosocial from the album All Hope Is Gone. G/A tuning - G-C-F-B-D-G / A-D-G-B-E-A Four full steps down from standard tuning. Utilized by the band Staind as well as other variations of this tuning, it is also used by Cannibal Corpse (in some songs) and Mortician. The Guitarist Mike Mushok uses a baritone Guitar that is specifically designed for lower tunings. G tuning - G-C-F-A-D-G / G-C-F-B-D-G Four and a half steps down from standard tuning. Also used by the Doom Metal band Warhorse (American band) F/G tuning - F-B-E-A-C-F / G-B-E-A-D-G Five full steps from standard tuning. Used by the Death Metal band Disfiguring The Goddess F tuning - F-A-D-G-C-F / F-B-E-A-C-F Five and one half steps down from standard tuning. Used by the deathgrind band Maruta.

Octave Tuning - E-A-D-G-B-E Six full steps (one octave) down from standard tuning. The Low E has the same fundamental frequency as a bass guitar, essentially the same standard tuning as a bass guitar but with a high B and E added to mimic a regular guitar. This tuning is used on the Fender Bass VI and similar instruments. Notably used by Robert Smith of The Cure and Jack Bruce of Cream. In his early days with Ronnie Hawkins, future Band bassist Rick Danko was also seen with a Fender Bass VI. Tunings as low as B tuning may be practiced on an unmodified instrument provided that higher gauge strings are used, although an extended scale "baritone" guitar is better-suited to avoid warping, as its scale length and truss rod are designed for their tension. Many 8-string guitars feature a dual-action truss rod due to the sheer amount of tension from the strings. F and octave down tuning are impractical for a standard scale length guitar, since its scale length is too short for a clear sound and unmodified tuners are not built to admit bass guitar gauge strings.

Higher tunings
From standard EADGBE, all the strings are tuned up by the same interval. String tension will be higher. Typically requires thinner gauge strings, particularly the first string which could be as thin as six thousandths of an inch (about the thickness of a single human hair). A capo is typically preferred over these tunings, as they do not increase neck strain, etc. The advantage of these tunings is that they allow an extended upper note range versus a capo used with standard tuning which limits the number of notes that can be played. If standard gauge strings are used, the result is often a "brighter" or "tighter" sound; this was a common practice for some bluegrass bands in the 1950's, notably Flatt & Scruggs.

Terz tuning.

F tuning - F-A-D-G-C-F / F-B-E-A-C-F Half a step up from standard tuning. (used for Love Buzz on Nirvana's Bleach album - apparently by mistake (according to Come As You Are - Michael Azerrad), Vektor, Soundgarden's Black Hole Sun, and by Nickelback on their song "When We Stand Together") F/G tuning - F-B-E-A-C-F / G-B-E-A-D-G One full step up from standard. Primary tuning for the band The Chameleons. Johnny Marr also used this tuning extensively with The Smiths; bassist Andy Rourke remained in standard, however, even when Marr was playing in F#.

Guitar tunings G tuning also known as Terz tuning (sometimes spelled "Tierce", "Third", or "Tertz", all of which are acceptable) - G-C-F-A-D-G / G-C-F-B-D-G One and one half steps up from standard. G/A tuning - G-C-F-B-D-G / A-D-G-B-E-A Two full steps up from standard. A tuning - A-D-G-C-E-A Two and one half steps up from standard. This is the standard tuning for the Lapstick travel guitar. A/B - A-D-G-C-E-A / B-E-A-D-F-B Three full steps up from standard.

Dropped tunings
These tunings have the 6th string tuned low relative to the other strings, often (but not always) by one full step (a "drop 1" tuning). Some of these may require a baritone guitar due to the string tension required for extremely low notes. Others can be achieved using a capo and/or a partial capo. What matters for the purposes of fingering is the relative relationship among the strings. For example, a dropped B tuning has all strings Drop D tuning. tuned to different notes than a standard tuning, but the strings have the same relationship to each other as a drop D tuning (where only the 6th string differs from standard tuning), and as a result the fingerings are nearly the same as for standard tuning. Many of the terms below are ambiguous in whether only the 6th string is tuned down (a "drop N" tuning in the standard key of E), or all strings are tuned down, with the 6th tuned down more than the others (usually a "drop 1" tuning in some other key). For example, a "drop C tuning" usually refers to a "drop 1" tuning in the key of D, i.e. the 6th string is tuned down two whole steps and all others down one whole step. This is equivalent to a standard drop D tuning with all strings turned down a whole step. However, another "drop C tuning" is a "drop 2" tuning in the key of E, i.e. the 6th string is tuned down two whole steps and the others left alone. The former uses standard drop D fingerings, like all "drop 1" tunings, while the latter requires its own fingerings because of the different relative relationship of the 6th string to the others. Other variant drop tunings tune two different strings differently. Tuning both the 1st and 6th strings down the same amount is common enough to warrant its own name (see "double-dropped tunings" below). However, there are other possibilities. For example, the Foo Fighters song "Stacked Actors" uses a tuning AADGBE with the 6th string retuned to form an octave on A. This involves dropping the 6th string down a perfect fifth. This is sometimes called a "dropped A" tuning because the lowest string is tuned down to A; but it is different from either the "dropped A" variant of drop D (drop 1 in the key of B) or the less common "dropped A" used by Black Label Society, Mastodon and Periphery (drop a 4th in the key of D). Drop D - D-A-D-G-B-E Standard tuning but with the 6th string dropped one full step. Utilized by bands and/or artists: Radiohead, Avenged Sevenfold, Arrowmont, Rage Against the Machine, Lordi, Lamb of God, Evanescence, Silverchair, Muse, Skillet, Helmet, Soundgarden, Metallica on songs "All Nightmare Long" and "Just a Bullet Away", Rammstein, Fugazi in some songs, Tool in all their albums (except Prison Sex which is Drop B in standard variation Tuning), Stone Temple Pilots in some songs, Audioslave, Filter, Foo Fighters, Incubus in some songs, Guns N Roses on some songs from Chinese Democracy, Black Veil Brides (on the song "Knives and Pens"), The Devil Wears Prada, Nirvana in some songs, Zakk Wylde in some of his projects, Quicksand, Alesana, and The Beatles on "Dear Prudence".

Guitar tunings Drop C/Drop D - C-G-C-F-A-D / D-A-D-G-B-E Same as Drop D, but every string is dropped one half step. Utilized by bands like Our Lady Peace, Oceana, Alter Bridge, Alice In Chains on some songs (like "Them Bones" or "We Die Young"), Chevelle (on Sci-Fi Crimes), Of Mice & Men, Deftones (on their Around the Fur album), Evanescence, Disturbed, Theory of a Deadman, Puddle of Mudd, Linkin Park, Skillet, Black Veil Brides, 10 Years, Black Stone Cherry, Truckfighters, Fireball Ministry, RED on End of Silence, Nirvana on their In Utero album and System of a Down on their Mezmerize/Hypnotize double album. Also used by Lamb of God somewhat on their album Wrath, and almost exclusively on their album Resolution. Avenged Sevenfold used this tuning on songs "Scream" and "Almost Easy". Metallica use this tuning on their song "Minus Human" off S&M, on Dirty Window from their album St. Anger and live performances of "All Nightmare Long" and "Just A Bullet Away". Trivium used this tuning on their album In Waves. Van Halen's 1981 song "Unchained" used this tuning as well and is credited for popularizing the tuning. Drop C - C-G-C-F-A-D One full step down from Drop D. Utilized by bands like Hatebreed, Biffy Clyro, Swallow the Sun in all their albums, The Ocean Collective in the Heliocentric / Anthropocentric albums, Slo Burn, Bullet For My Valentine, Evanescence, Children of Bodom, As I Lay Dying, Rammstein, August Burns Red, Mastodon (on some songs), Helmet (since the Size Matters era), System of a Down, Black Stone Cherry, Chimaira (since The Impossibility of Reason), P.O.D., Ill Nio, Killswitch Engage, Deftones (in their album White Pony), Gojira (mostly on The Way of All Flesh), Metallica's St. Anger album, (except for the songs "Invisible Kid" which is in Drop G# and "Dirty Window" which is in Drop C#), Disturbed, Weissglut, Atreyu, Darkest Hour, Breaking Benjamin (on some songs), Mudvayne, Slipknot (on their demo album Mate. Feed. Kill. Repeat.), Bring Me the Horizon (since Suicide Season), Zakk Wylde, Escape the Fate, and Skillet. Drop B - B-F-B-E-G-C / B-G-B-E-A-D One and one half steps down from Drop D. This tuning is most often used by modern heavymetal musicians. Utilized by bands like Slayer (on Cast Down, Seven Faces and Payback from God Hates Us All, as well as few songs on Christ Illusion), Intronaut, Machine Head (tuned 40 cents sharp), Demon Hunter, Slipknot, Chevelle, Origin, RED (on "Faceless"), Parkway Drive, Skillet (on much of Comatose), Bring Me The Horizon (up until Count Your Blessings), Sevendust, Chimaira (on a few songs from The Infection), Eye Empire, The Devil Wears Prada, Drowning Pool, Comfort in the End, Attack Attack!, Creed (on Full Circle), and occasionally Black Stone Cherry, Down, and Limp Bizkit. Drop A/Drop B - A-F-A-D-G-C / B-F-B-E-G-C Two full steps down from Drop D. Utilized by bands such as Hostility, Static-X, Bring Me the Horizon (since Suicide Season), In Flames, Sybreed, Hellyeah, Amaranthe, Breaking Benjamin (since Phobia), Parkway Drive, Spineshank, RED, Bury Your Dead, Eye Empire, Dirge Within, Remembering Never, and occasionally Chevelle, Darkest Hour, Evanescence and Sevendust. Drop A - A-E-A-D-F-B / A-E-A-D-G-B Two and one half steps down from Drop D. This tuning is most often used by death metal or deathcore musicians, such as Suicide Silence or Whitechapel (both use seven-string guitars and tune down the seventh string two half steps). Utilized by bands like Nile, Motograter, Thrice, Filter (on the songs "Columind" and "The Missing" from The Amalgamut and "Drug Boy" and "The Trouble with Angels" from the album of the same name), Dead by April, RED, Ill Nio (on Dead New World) and occasionally Slipknot, Crowbar, Amon Amarth, and Parkway Drive. Trapt uses this tuning on their songs "Hollow Man" and "Waiting". Drop A or D standard variation - A-G-C-F-A-D: Used by Mastodon on most of their first album (Remission) and on some songs on other albums. Also utilized by Periphery on the song "Zyglrox." Also used on occasion by Black Label Society, who also have been known to tune it a half-step up, which Alter Bridge also does on some of their songs such as "Broken Wings", "Come to Life", "I Know it Hurts", "Still Remains", "Breath Again", and "All Hope is Gone." Creed, Architects, and Sevendust all use this tuning tuned a half-step down on their songs "Bread of Shame", "Early Grave", and "Home", respectively. Danish industrial metal band Raunchy used this

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Guitar tunings tuning tuned one and a half-step down (F#-E-A-D F# B) on the song "Dim the Lights and Run" from the album A Discord Electric. Drop G/Drop A - G-D-G-C-F-A / A-E-A-D-F-B Three full steps down from Drop D. Utilized by Dead by April (on some songs), Metallica in the song "Invisible Kid" from St. Anger, Damien Deadson, Love and Death, and The Acacia Strain. Staind also uses this tuning (but with the 2nd string tuned up 1/2 step to emulate a 7-string guitar), as well as several other modified variations of this, such as one in which the 5th string is also dropped from D# to C#. Drop G - G-D-G-C-E-A Three and one half steps down from Drop D. Used by Bring Me The Horizon (on the songs "Death Breath" and "Sleep With One Eye Open" from Suicide Season), Attack Attack!, Baroness, The Acacia Strain (on some songs), Dead by April (on some songs), and In Flames (on the song "Transparent" from Reroute to Remain). Drop F/Drop G - F-C-F-B-D-G / G-D-G-B-E-A Four full steps down from Drop D, or two full steps up from Drop D1. Used by Disfiguring the Goddess. In the recording of Limp Bizkit's song "Nookie", Wes Borland used a custom 4 string baritone guitar tuned F#-F#-B-E. Drop F - F-C-F-A-D-G / F-C-F-B-D-G Four and one half steps down from Drop D, or one and a half steps up from Drop D1. Used by Attack Attack! on "The Wretched" off "This Means War"

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Drop E - E-B-E-A-C-F / E-B-E-A-D-G/ Five full steps down from Drop D, or one full step up from Drop D1. Drop D/Drop E - D-A-D-G-C-F / E-B-E-A-C-F Five and one half steps down from Drop D, or one half step up from Drop D1. Drop D1 Tuning - D-A-D-G-B-E Six full steps (one octave) down from Drop D. Drop C/Drop D in standard variation Tuning - C-A-D-G-B-E Standard tuning but with the 6th string lowered one and a half steps. Drop B in standard variation Tuning - B-A-D-G-B-E Used in the song "Rusty Cage" by Soundgarden, "Cowboy Hat" by Nickelback, "Gasoline" and "Bring Em Back Alive" by Audioslave and "Prison Sex" by Tool. Today is the Day have used it on every album since Temple of the Morning Star, Shining use it on most of their album Blackjazz, and Black Label Society uses this on some songs to emulate a seven-string. "Hardcore" Tuning. A tuning primarily used by hardcore and grindcore musicians to create a harsh dissonance by the use of the open semitone interval.

Double-dropped tunings
Similar to the dropped tunings, except that both the 1st and 6th strings are dropped one full step. Double Drop D - D-A-D-G-B-D Standard tuning but with the 1st and 6th strings dropped one full step. Favored by Neil Young. Has also been used by Lamb of God on some of their earlier songs. Double Drop C/Drop D - C-G-C-F-A-C / D-A-D-G-B-D/ Same as [Double] Drop D, but every string is dropped one half step. Used by the acoustic rock band Days of the New. Double Drop C - C-G-C-F-A-C One full step down from Drop D. Used by Sevendust on the song "Seasons".
Double drop D tuning.

Guitar tunings Double Drop B - B-F-B-E-G-B / B-G-B-E-A-B/ One and one half steps down from Drop D. Double Drop A/Drop B - A-F-A-D-G-A / B-F-B-E-G-B Two full steps down from Drop D. Double Drop A - A-E-A-D-F-A / A-E-A-D-G-A Two and one half steps down from Drop D. Double Drop G/Drop A - G-D-G-C-F-G / A-E-A-D-F-A Three full steps down from Drop D. Double Drop G - G-D-G-C-E-G Three and one half steps down from Drop D. Double Drop F/Drop G - F-C-F-B-D-F / G-D-G-B-E-G Four full steps down from Drop D, or two full steps up from Drop D1. Double Drop F - F-C-F-A-D-F / F-C-F-B-D-F Four and one half steps down from Drop D, or one and a half steps up from Drop D1. Double Drop E - E-B-E-A-C-E / E-B-E-A-D-E Five full steps down from Drop D, or one full step up from Drop D1. Double Drop D/Double Drop E - D-A-D-G-C-D / E-B-E-A-C-E Five and one half steps down from Drop D, or one half step up from Drop D1. Double Drop D1 Tuning - D-A-D-G-B-D Six full steps (one octave) down from Double Drop D. ==Tunings for non-standard guitars

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Miscellaneous tunings
Dad-Gad
D-A-D-G-A-D Often vocalized as "Dad-Gad", DADGAD is common in Celtic music. In rock music, has been used in Led Zeppelin's "Kashmir".[4] Pierre Bensusan is another noted exponent of this tuning. Three down-tuned variations are used by the band Sevendust: A drop C variation, or C-G-C-F-G-C. (used on the song "Unraveling"), a drop B variation, or B-F#-B-E-F#-B, and a drop A# variation, or A#-F-A#-D#-F-A#. Neighboring tunings D-A-D-E-A-E and C-G-C-D-G-A have been used by Martin Carthy. Also DADAAD, was used by Dave Wakeling on the English Beat's 1983 "Save It For Later".

Dad-Dad
D-A-D-D-A-D Nicknamed - "Papa-Papa". DADDAD is common in folk music (Irish, Scottish), and for the execution of a rhythm guitar in "heavy" (alternative music) on 6 th on the third string at the same time. To reach the tuning from DADGAD, Open D or Open D Minor, the G string is dropped to D so that the 3rd and 4th strings are tuned to the same pitch. DADDAD tuning is sometimes used on Dobro guitars for rock and blues. Notable users of this tuning include Billy McLaughlin.

Guitar tunings

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Cello/Standard guitar
C-G-d-a-b-e' Essentially a cello tuning with the deeper four strings in fifths and the two highest strings in standard guitar tuning. Used by Oxbow on their 1989 song "The Valley" and 2007 song "Frank's Frolic." Also used by Foo Fighters on the song "Weenie Beenie" A variation of this tuning with all four high strings in standard guitar tuning is: C-G-d-g-b-e' Used by Oxbow on the 1993 (recorded) song "Sunday" and 1996 song "The Last Good Time."

"Karnivool" tuning
B-F-b-g-b-e' Hybrid tuning between B-tuning and E-standard. Used by the band Karnivool for their Themata album, and some of their Sound Awake Tracks.

Mi-compos
E-A-d'-g-b-e' Mi-compos is a tuning commonly used for rhythm guitar in African popular music forms such as soukous and makossa.[17] It is similar to the standard guitar tuning, except that the d string is raised an entire octave. This is accomplished by replacing the d string with an e' string and tuning it to d'.

Ostrich tuning
Ostrich tuning is a tuning where all strings are tuned to the same note,[18] creating an intense, chorused drone.

Love Buzz
D-A-D-G-B-F This tuning was used on the song "Love Buzz" by Kurt Cobain of Nirvana.

"Iris" Tuning
B-D-D-D-d-d Tuning used by Johnny Rzeznik of the Goo Goo Dolls on the song "Iris".

Microtonal tuning
The open strings of a guitar can be tuned to microtonal intervals, however microtonal scales cannot be played on a conventional guitar because the frets only allow for a chromatic scale of twelve equally spaced pitches, each a semitone apart. It is possible to play microtonal scales on a fretless guitar or to convert a fretted guitar into a fretless. Guitars can also be refretted to a microtonal scale.[19] On many refretted microtonal guitars, the frets are split, so that the tuning of each string is independent from the others. To enable an adjustable microtonal tuning, there exist guitars with frets that can be moved across the fingerboard.[20][21] Extended techniques such as the 3rd bridge technique, slide guitar and prepared guitar techniques can be used to produce microtonality without severe modification to the instrument.

Guitar tunings

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Instrumental: Not based on six-string guitars

Guitars
Five-string Five string guitars are common in Brazil, where they are known as guitarra baiana and are typically tuned in 5ths. Schecter Guitar Research produced a production model 5 string guitar called the Celloblaster in 1998.[22] A five-string tuning may be necessary in a pinch when a string breaks on a standard six-string (usually the high E) and no replacement is immediately available. Some basic five-string tunings include: Standard - E-A-D-G-B The standard tuning, without the top E string attached. Alternative variants are easy from this tuning, but because several chords inherently omit the lowest string, it may leave some chords relatively thin or incomplete with the top string missing (the D chord, for instance, must be fretted 5-4-3-2-3 to include F#, the tone a major third above D). Celloblaster tuning - C-G-D-A-E Similar to All fifths or New Standard Tuning. Used by the noise-rock band Lightning Bolt. Baritone - E-A-D-F-B In this tuning, the fourth (G) string is lowered a half-step, thus recreating the intervals between the top five strings, lowered a perfect fourth. Though chords can easily and more fully be played from this tuning, it sometimes results in awkward inversions, a relatively minor problem if the five-string is played in an ensemble with a bass guitar. E-A-C-F-B Simulates the top four strings, followed by the second-from-bottom string on top, raised a whole step (the F representing both the top and bottom E). It makes playing in the key of A major easier, though chord fingerings have to be altered unless the strings are rearranged to F-B-E-A-C. Open G tuning - G-D-G-B-D Some slide/bottleneck guitarists omit the bottom E string when playing in open G to have the Root note as the tonic. This tuning is used by Keith Richards. Open E5 tuning - E-B-E-B-E. This is achieved by removing the fourth (G) string, tuning both Es and the B down a half step, and the A and D strings up a half-step. This creates a five-string power chord. Seven-string Similar to five-string bass guitar tuning, seven-string tuning allows for the extra string a fourth lower than the original sixth string. This allows for the note range of B standard tuning without transposing E standard guitar chords down two and a half steps down. Baritone 7-string guitars are available which features a longer scale-length allowing it to be tuned to a lower range. Standard Tuning - B-E-A-D-G-B-E Standard seven-string tuning.

Guitar tunings Lower A/B tuning - A-D-G-C-F-A-D / B-E-A-D-G-B-E Half a step down from standard, used by bands such as Emmure, TesseracT and Meshuggah in their earlier days, Jeff Loomis (now formerly of Nevermore), Cannibal Corpse mid-career, Adema, American Head Charge, Sonata Arctica in their album Unia, Mushroomhead, and Slayer (on War Zone and Here Comes the Pain from God Hates Us All). A tuning - A-D-G-C-F-A-D A full step down from standard. Used by bands such as Korn, Mushroomhead and Fear Factory G/A tuning - G-C-F-B-E-G-C / A-D-G-B-E-A-D One and one half steps down from standard. Used by bands such as Deftones (on their self-titled album) and Korn (on the song "Alone I Break", but on 14-string guitars.) G tuning - G-C-F-A-D-G-C / G-C-F-B-E-G-C Two full steps down from standard tuning. F/G tuning - F-B-E-A-D-F-B / G-B-E-A-D-G-B Two and one half steps down from standard. Used by Danish band Mnemic in the albums Passenger and Sons of the System. F tuning - F-A-D-G-C-F-A / F-B-E-A-D-F-B Three full steps down from standard. Used by Meshuggah during the recording of Nothing. The songs are played live using 8 string guitars. E tuning - E-A-D-G-C-E-A Three and one half steps down from standard. D/E tuning - D-G-C-F-B-D-G / E-A-D-G-B-E-A Four full steps down from standard. D tuning - D-G-C-F-A-D-G / D-G-C-F-B-D-G Four and one half steps down from standard. C/D tuning - C-F-B-E-A-C-F / D-G-B-E-A-D-G/ Five full steps down from standard. C tuning - C-F-A-D-G-C-F / C-F-B-E-A-C-F Five and one half steps down from standard. Octave Tuning - B-E-A-D-G-B-E Six full steps (one octave) down from standard tuning. Thirds Tuning - E-G-C-E-G-c-e Same range as standard six-string. Allows over two full chromatic octaves without changing position, slides or bends. The open C tuning for 7-string guitar was Devin Townsend's preferred tuning for the extreme metal band Strapping Young Lad.

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Guitar tunings Higher C tuning - C-F-A-D-G-C-F / C-F-B-E-A-C-F Half a step up from standard, used by Eddie Rendini during his time in Cold. Dropped These tunings have the added low 7th string tuned one full step lower allowing for chord structures similar to six-string drop tunings. Drop B - B-F-B-E-A-C-F / B-F-B-E-G-C-F / B-G-B-E-A-D-G a tuning which combines the standard drop B tuning of a 6 string electric guitar, but with a high F for soloing. Used by bands such as All Shall Perish and Assemble the Chariots Drop A - A-E-A-D-G-B-E A combination of standard 6 string tuning and a 7th string dropped one full step for power chords, used by deathcore bands such as Suicide Silence, Oceano, and Whitechapel, as well as other bands such as Lacuna Coil, Blotted Science, In This Moment, Dir En Grey, Chimaira (on Pass Out of Existence), and occasionally Scar Symmetry, Escape the Fate, The Devil Wears Prada, and Dry Kill Logic. Triumphant Return guitarist Matti varies this tuning by dropping both the low B to A and low E to D and raising the high B and E a half-step to C and F (A-D-A-D-G-C-F). Drop A - alternatively, A-E-A-D-F#-B-E The same as drop A tuning for a 6-string on the low strings while retaining a high E. In effect converts a 7-string into a drop A baritone guitar, but with standard tuning's soloing capability. Drop G/Drop A -G-D-G-C-F-A-D / A-E-A-D-G-B-E One half step down from standard Drop A. Used by bands such as Destrophy, TesseracT, Brian "Head" Welch and Periphery Drop G - G-D-G-C-F-A-D A full step from standard Drop A, used by such bands as Molotov Solution, Impending Doom, Attack Attack! on their album This Means War (Attack Attack! Album), and Born of Osiris on their latest album The Discovery (album). Drop F/Drop G - F-C-F-B-E-G-C / G-D-G-B-E-A-D One and one half steps down from standard Drop A. Used by Deftones (on their Saturday Night Wrist album). Drop F -F-C-F-A-D-G-C / F-C-F-B-E-G-C / Two full steps down from standard Drop A used on three tracks on Attack Attack!'s album This Means War (Attack Attack! Album): The Hopeless, The Abduction, and The Wretched. Triumphant Return uses a variation of this tuning also (F-C-G-C-F-A-D). Drop E - E-B-E-A-D-F-B / E-B-E-A-D-G-B Two and one half steps down from standard Drop A. Drop D/Drop E - D-A-D-G-C-F-A / E-B-E-A-D-F-B Three full steps down from standard Drop A. Drop D - D-A-D-G-C-E-A Three and one half steps down from standard Drop A. Drop C/Drop D - D-A-D-G-B-E-A / C-G-C-F-B-D-G Four full steps down from standard Drop A. Drop C - C-G-C-F-A-D-G / C-G-C-F-B-D-G Four and one half steps down from standard Drop A. Drop B1 - B-F-B-E-A-C-F / B-G-B-E-A-D-G Five full steps down from standard Drop A. Six full steps (one octave) down from a baritone Drop B guitar Drop A/Drop B - A-F-A-D-G-C-F / B-F-B-E-A-C-F Five and one half steps down from standard Drop A.

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Guitar tunings Drop A1 Tuning - A-E-A-D-G-B-E Six full steps (one octave) down from standard Drop A. Eight-string A continuation of the 7-string, adding another string a fifth lower than the seven strings low B. The eight string guitars additional low F string is just a whole step up from a bass guitars low E string. While luthiers have been building these instruments previously, mass-produced Eight-string electric guitars are a relatively recent innovation. Ibanez was first to offer a production 8-string guitar in March 2007.[23] Many other companies now produce mass-market 8-string models, yet these guitars remain relatively uncommon. Standard - F-B-E-A-D-G-B-E Standard eight-string tuning. Used by Scar Symmetry on the song "Mechanical Soul Cybernetics" from the album Dark Matter Dimensions and by Deftones on their album Diamond Eyes. F tuning - F-B-E-A-D-G-B-E Half a step down from standard tuning. Used by Meshuggah and After The Burial. E tuning - E-A-D-G-C-F-A-D One full step down from standard tuning. Used by Meshuggah E tuning- E-A-D-G-B-E-A-D One and a half steps down from standard tuning. Used by Meshuggah. A tuning - A-D-G-C-F-A-D-G Three and one half steps down from standard tuning. High A - B-E-A-D-G-B-E-A Standard seven string tuning with a 'high a' Used by Rusty Cooley. Dropped Drop E/F - E-B-E-A-D-G-B-E A combination of standard 7 string tuning and a 8th string dropped one full step for power chords, used by Animals as Leaders and Whitechapel (on the songs "Devolver" and "Breeding Violence" from A New Era of Corruption) (E A E A D G B E). Drop E/D - E-B-E-A-D-G-B-E Half a step down from drop E tuning. Used by Meshuggah in the album Catch Thirty-Three, in the song Shed, and used by Emmure in the album Speaker Of The Dead in the song "Word of Intulo" Drop D - D-A-D-G-C-F-A-D One full step down from drop E. Used by Meshuggah in the song Obsodian. Drop C} - C-G-C-F-B-E-G-C One and a half steps down from drop E.

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Steel Guitar
On table steel guitar and pedal steel guitar, the most common tunings are the extended-chord C6 tuning and E9 tuning, sometimes known as the Texas and Nashville tunings respectively. On a multiple-neck instrument, the near neck will normally be some form of C6, and the next closest neck E9. Necks with 12 or more strings can be used with universal tunings which combine the features of C6 and E9. On a 12 string pedal steel guitar, all 12 strings are tuned and played individually, not as 6 double courses as on the 12 string guitar. On lap steel guitar there is often only one six-string neck. C6 tuning is popular for these instruments, as are open G, E6, and E7 tuning.

Guitar tunings

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Renaissance lute
Renaissance lute tuning: E-A-d-f-b-e' This tuning may also be used with a capo at the third fret to match the common lute pitch: G-c-f-a-d'-g'. This tuning also matches standard vihuela tuning and is often employed in classical guitar transcriptions of music written for those instruments.

Notes
[1] [2] [3] [4] [5] [6] Denyer (1992, pp.158159) Sethares (2011) Christian Musician interview article with Persons, January 1986 Johnson, Gordie (1 May 2008). "Hey Kid, What Tuning is That?". Canadian Musician 30 (3): 25. Cohen, Andy (22 March 2005). "Stefan Grossman- Country Blues Guitar in Open Tunings". Sing Out! 49 (1): 152. Sethares, Bill (2001). "Regular tunings" (http:/ / sethares. engr. wisc. edu/ alternatetunings/ regulartunings. pdf) (pdf). Alternate tuning guide. Madison, Wisconsin: University of Wisconsin; Department of Electrical Engineering. pp.5267. 2010 Alternate tuning guide, including a revised chapter on regular tunings (http:/ / sethares. engr. wisc. edu/ alternatetunings/ alltunings. pdf). . Retrieved 19 May 2012. [7] Sethares (2001, pp.5859) [8] Bianco, Bob (1987). Guitar in Fourths. New York City: Calliope Music. ISBN0-9605912-2-2. OCLC16526869. [9] Sethares (2001, "The mandoguitar tuning" 6263) [10] Tamm, Eric (2003) [1990] (html), RobertFripp: From crimsonking to craftymaster (http:/ / www. progressiveears. com/ frippbook/ ch10. htm) (Progressive Ears ed.), Faber and Faber (1990), ISBN0-571-16289-4, Zipped Microsoft Word Document (http:/ / www. erictamm. com/ rf. zip), , retrieved 25 March 2012 [11] Zwerdling, Daniel (5 September 5 1998). "California Guitar Trio" (http:/ / www. highbeam. com/ doc/ 1P1-29111365. html) (html). All Things Considered (Washington DC: National Public Radio). . Audio recording (free) (http:/ / www. npr. org/ templates/ story/ story. php?storyId=1006483). . Retrieved 25 March 2012. [12] Fripp (2011, p.3): Fripp, Robert (2011). Pozzo, Horacio. ed. Seven GuitarCraft themes: Definitive scores for guitar ensemble (http:/ / partitasmusic. com/ ). "Original transcriptions by Curt Golden", "Layout scores and tablatures: Ariel Rzezak and Theo Morresi" (First limited ed.). Partitas Music. ISMN979-0-9016791-7-7. DGMSkupartitas001. . [13] Sethares (2001, "The augmentedfourths tuning" 6061) [14] Sethares (2001, "The augmented fourths tuning", p.60 (http:/ / sethares. engr. wisc. edu/ alternatetunings/ regulartunings. pdf)) [15] Turner, Steve (30December 2005). "Interview with RonJarzombek" (http:/ / www. ronjarzombek. com/ stevet. html) (html). RonJarzombek.com (http:/ / www. ronjarzombek. com/ ). . Retrieved 23May 2012.

RonJarzombek used the BF augmented-fourths tuning for "TwoThirds OfSatan" also.

[16] http:/ / www. betterguitar. com/ instruction/ rhythm_guitar/ tune_down_half_step/ tune_down_half_step. html [17] Steward, Gary (2004). Rumba on the River: A History of the Popular Music of the Two Congos (http:/ / books. google. com/ books?id=gKEHO1z413EC& pg=PA34). Verso. pp.34. ISBN978-1-85984-368-0. . [18] Lou Reed biography (http:/ / www. imdb. com/ name/ nm0715563/ bio) at IMDB [19] "Alternative tunings on Fretted InstrumentsRefretting and Other Approaches". Experimental Musical Instruments journal 3 #6: 36. April 1988. [20] US Patent for individually adjustable frets (http:/ / www. google. nl/ patents/ US4981064) [21] The Adjustable Microtonal Guitar by Tolgahan oulu (http:/ / www. erhanbirol. com/ othersites/ tolgahan/ EN/ microtonal_en. html) [22] Schecter Guitar Research (1999) Diamond Series. Schecter Guitar Research Catalogs. Los Angeles, CA [23] Official Ibanez Forums announcement: http:/ / www. ibanez. com/ forum/ forum_posts. asp?TID=4151& PN=1

References
Denyer, Ralph (1992). "Playing the guitar ('How the guitar is tuned', pp.6869, and 'Alternative tunings', pp.158159)". The guitar handbook. Special contributors IsaacGuillory and AlastairM.Crawford (Fully revised and updated ed.). London and Syndey: Pan Books. pp.65160. ISBN0-330-32750-X. Sethares, William A. (2011). "Alternate tuning guide" (http://sethares.engr.wisc.edu/alternatetunings/ alternatetunings.html) (html). Madison, Wisconsin: University of Wisconsin; Department of Electrical Engineering. 2010PDF version by BillSethares (http://sethares.engr.wisc.edu/alternatetunings/alltunings. pdf). Retrieved 19 May 2012.

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