#16
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Absolutely. This is AGF at its finest, very informative question and responses.
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#17
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The deeper one goes into the musical journey, the more one understands that being opinionated about certain topics (such as this one) is counter productive. As long as the end result is satisfying to the player, and pleasant to the audience, nothing else matters. |
#18
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EADGBE is a compromise tuning that's evolved to make most things reasonably easy, and not too many things too difficult. Nothing is particularly easy in EADGBE, but neither is much very difficult.
The fact that it's in 4ths (with one major 3rd) is to enable every note of a scale to be within reach in any one position. Ie, wherever you are, you have 3 scale notes per string (2 on one), and can run up and down a scale without having to move your hand or stretch too far. It's related to (and probably evolved from) lute tuning, which has the major 3rd between the middle 2 strings, but is otherwise in 4ths. (Lute has a shorter scale length, but the 3-scale-notes-per-string would also have dictated that tuning.) (Smaller instruments like violin and mandolin are tuned in 5ths, because they're short enough to let you stretch to 4 scale notes on one string.) The reason for that major 3rd (which bedevils guitarists trying to learn scale patterns) is no doubt to make the outer strings the same note (E on guitars), and to aid tuning by ear. It also makes barre chords practical, because more strings at the same fret will be in the same chord, so can be held by the index. (Tuning all in 4ths makes scale patterns regular and simple, but makes chords harder, because full barres are less practical. Tuning in 3rds makes most chords a lot easier - because chords are built in 3rds of course - but limits the scale notes available in any one position; you only have 2 per string.) Alternate tunings are always about making just one (or maybe two) keys much easier, and putting up with the others becoming more difficult (hence the popularity of capos ). Sometimes - as with arrangements of classical pieces written for other instruments - they are about making one piece easier to play. They also make for a good deal of open string resonance, which is one of the main attractions. You won't find people in alternate tunings using barre chords nearly as much as those in EADGBE; because they want to maximise that beautiful resonance of open roots and (usually) 5ths. (An exception would be open chord tunings, like open D or G, where easy 1-fret barres produce other major chords.) Those resonant open strings also encourage the invention of new chord forms, unusual harmonies, often using 2nds and 4ths rather than 3rds. (Eg, John Martyn)
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#19
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This thread has been a delightful read. One more common use I can think of for alternate tunings is slide work, for the same reason that was mentioned above: easy access to chords using a barre (or slide) across the fretboard.
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"You don't have to be great to start, but you have to start to be great." -Zig Ziglar Acoustics 2013 Guild F30 Standard 2012 Yamaha LL16 2007 Seagull S12 1991 Yairi DY 50 Electrics Epiphone Les Paul Standard Fender Am. Standard Telecaster Gibson ES-335 Gibson Firebird |
#20
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Whoever it was that stuck that major third interval between the 3rd and 2nd string deserves our undying gratitude. As was stated earlier, tuning in straight fourths makes for easy scale runs, but that major third sure makes chords one hell of a lot easier to finger. It also facilitates blues runs and licks, which have been extremely popular since the late 1890s or so.
Personally I think the beginning guitarist should learn standard tuning first and then go to the open tunings - probably open D and then open G. To me those tunings are specialty tunings that make slide playing w-a-a-y easier and are great for country, bluegrass and folk tunes. And, of course, just about every cool Keith Richards lick since '68 or so. One of the beautiful things about fretted stringed instruments is their ability to be played very musically with a variety of tunings. One could spend a lifetime on standard tuning alone, but open tunings literally open a whole new world of guitar playing. Rev George |
#21
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I can't add any more knowledge to this discussion, I read a lot of good stuff that I agree with, but I just wanted to add that many players have influenced my playing a great deal. I had a teacher for 2 yrs, back in '65 or so, Tommy Flint, who wrote the Mel Bay books. I believe I heard somewhere that he was Merle Travis' cousin. Anyway, he taught me fingerstyle, solo chording, scales, modes, etc. Then I wanted to learn from listening to Clapton, Page, Duane,etc.Thanks to my early training, I could figure out a lot of what I was hearing, but not everything. I have to work hard for every bit of progress I make. So standard is usually enough of a challenge for me. Sometimes I dabble with open g or drop d, but I'm mainly a standard guy. Doesn't stop me from admiring Mckee, or Dufore, they are simply amazing. What I'm saying is, I think we can all learn from each other, if we pay attention, and don't let ourselves be close-minded.
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www.friendincrises.blogspot.com Old age and treachery will outsmart youth and skill every time. - My dad... |
#22
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#23
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The key word here is "encourage". Yes, one could potentially play anything in any tuning (or almost) -- but different tunings do "encourage" different harmonies indeed. |