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Reno Brandoni: Open Tuning Basics Language: English Media: Audio on line Pages: 76 When we talk about “open tuning” we mean a different tuning from the standard one. Guitar is usually tuned by fourths, the only exception being between the third string (G) and the second string (B), where we have a major third. From the sixth string (the thicker one on top) the strings are tuned this way: EADGBE. All the chord shapes and fingerings are built around this tuning, so when you learn the C progression you’re going to use this standard chord shapes. When you start that’s not very intuitive, and it’s the first problem a guitar player has to face. Many prospective players just give up, because some positions seem to be too difficult (although they’re going to be easy in the long run), and the sound is often sloppy and dirty, barely rewarding the necessary efforts. My introduction to open tunings might look limited, and sometimes will miss to underline their importance, but I think that a simplified and enjoyable approach will lead you to play with greater enthusiasm, and you will eventually be able to understand and play complex parts, getting to know your instrument in depth. Let me do a simple example. The G tuning is the first open tuning we’re going to analyze, and you’ll have to tune the strings like this : DGDGBD. Starting from the standard tuning this is what you have to do : -Tune the sixth string down a whole tone, from E to D -Tune the fifth string down a whole tone, from A to G -Tune the first string down a whole tone, from E to D (We will always relate to the standard tuning EADGBE, so please always start from there to achieve the required tuning.) This a G major tuning, so strucking your open strings will give you a G chord. If you play all the strings on the fifth fret you’ll get a C, and a D on the seventh fret. With just these three chords you’re going to have a lot of fun really quic- kly, and you’ll be able to play many famous tunes. To get things straight: with open strings you’ll get a G chord, so playing all the strings on another position with a barré will give you a different chord, going up the neck chromatically: G# on the first fret, A on the second, A# on the third, B on the fourth, C on the fifth and so on. When we’ll go in depth on each open tuning we’ll talk about more complex fingerings, that will allow us to play different types of chords. A big advantage with open tunings is that you’ll be able to play chords and melodies more easily, letting the strings ring and getting richer sounds that would be really hard to get with a standard tuning. This is true at the beginning, but later on things will become more challenging and rewarding even for seasoned professionals. Using different tunings from time to time you’ll often find new ideas when you compose your music, either studying new positions or merely by chance, be- cause you’ll be forced to think outside your usual frame of mind. Some players employ a particular open tuning as their own “standard tuning”, like Pierre Bensusan with his DADGAD, giving his music a distinctive sound. This book will try to bring you into different sonic landscapes, hopefully lea- ding you to quickly learn new tunes and having fun in the process. Happy fingerpicking

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