Back to playing in standard....

[Rick Jones]

It's funny, I started learning alternate tunings because I got swept up fairly early into the percussive acoustic craze.

Then one day when I listened to a recording of a song I'd written (which I'd spent precious money for studio time for) I realised that my recording, performance unseen, sounded like someone playing a very limited hand percussion along with someone else playing a simple bassline and an even simpler arpeggiated pattern. Some of the notes being done with slap harmonics seemed to change the fluidity compared to if I just played the piece straight with no 'drumming' which made hitting the same notes legato possible.

It wasn't that I wasn't adept, either. The same song used to (and still occasionally does) get me huge applause done live where people could see what was going on.

But some month later I reworked the song to flesh out the guitar part, found that it worked better in standard tuning, and played actual bass and had a talented friend add hand percussion with his choice of instruments.

[Andyrondack]

Originally Posted by TBman

Anyway, I'm glad I'm back to playing in standard. There were a lot of great tunes I passed over learning because I wanted to stay in DADGAD, Orkney and other related tunings.

I'm assigning standard (down a step) to my Pellerin, the Furch as well, but it will be versatile, the Avalon to Orkney and related tunings and the J-45 to DADGAD and sometimes standard.

I won't blow through strings on 3 of them at least, but the Furch will probably get new strings the most as it will be tuned to whatever I feel like playing.

What puzzles me is what gauge strings are used by players like Martin Simpson who use dadgad and dgdgcd on one guitar , that 2nd string seems quite loose tuned to A but if you also have to tune it to C?

[The Bard Rocks]

Originally Posted by tbeltrans

I have read about fourths tuning and major 3rd tuning as presented by Alan Holdsworth and Ralph Phatt respectively. However, fifths tuning is one I had not read about. Since with all string to string intervals being identical, you don't have that "kink" with the B string, I can see how these would simplify things. But as with any other tuning including standard, each has its pros and cons.

Tony

This works well on mandolins and violins, but on guitars it would lead to some very long stretches. I have enough trouble with some of them on mandolin, so will not go there on guitar. Still on a short-necked instrument, there is a lot to recommend it.

[tbeltrans]

Originally Posted by The Bard Rocks

This works well on mandolins and violins, but on guitars it would lead to some very long stretches. I have enough trouble with some of them on mandolin, so will not go there on guitar. Still on a short-necked instrument, there is a lot to recommend it.

The more I learn about other tunings, the more I come to appreciate why standard.

Tony

[Andyrondack]

I can't see how song accompaniment in standard tuning can match the fluidity and creativity demonstrated by this bloke, but then I don't understand how he's doing this in dadgad either but I think it's brilliant.

https://youtu.be/StaFK7UYWwA

[Marshall]

Originally Posted by Coler

An element of e.g. DADGAD that I Iove is the open strings ringing out, done in a discerning way. The same piece played in Standard, well, it can't be done.

I used to write and play a lot in DADGAD. 12 years ago a friend wanted to cover one of my songs. I said, "It's in DADGAD." He said "I can figure anything out." A month later he derided me for playing in cockamamie tunings.

So I went back to standard mostly. It was just too much of a pain carrying 2 guitars to a short gig. . . . , but then another friend put me on to partial capos. You can turn standard into DADGAD in E with a partial capo. It's not exactly the same. I can't play my old DADGAD songs that way. But it opens up great open-string possibilities in otherwise regular songs. And you don't have to retune a guitar. You just slap the thing on and you're off to the races. I do some songs now with 2 capos. A full capo on 3 and the partial on 5. - Cool sound.

[TBman]

Originally Posted by Andyrondack

What puzzles me is what gauge strings are used by players like Martin Simpson who use dadgad and dgdgcd on one guitar , that 2nd string seems quite loose tuned to A but if you also have to tune it to C?

Mediums with a 53 or 54 6th string or a mixed set like Elixir HD which are 13 17 25 32 42 53 are my favorites for the lower tunings.

[Doug Young]

Originally Posted by Andyrondack

What puzzles me is what gauge strings are used by players like Martin Simpson who use dadgad and dgdgcd on one guitar , that 2nd string seems quite loose tuned to A but if you also have to tune it to C?

If i recall from one of Martins old instructional videos, he goes quite heavy. I remember a 15 1st string, or maybe it was 16. I assume he doesnt go to standard with that, but maybe. His sobells could handle a lot of tension.

I typically use “dadgad” sets, with the heavier top and bottom, tho ive lately been pushing the 1st string up to a 14 and the 2nd to an 18. Not quite as heavy as Martin, but getting there. I have no trouble tuning to standard, or even things like Orkney, withe 2nd string up to C. At least my guitars, and fingers handle it fine.

[TBman]

duplicate post