DADGAD

[Jeff M]

As I am new to the realm of fingerstyle I have a simple question. What is the benefit of the DADGAD alternate tuning? I assume there is an ergonomic benefit, but what is it? Are certain common fingerstyle chordal progressions easier to play? If so, what are they? I always wonder how people come up with these alternate tunings.

[GordonHLau]

There are various reasons why alternate tunings are used. It can give a song a different feel since now you able to play low notes that weren't there in standard tuning and let open strings ring out. Open tunings also allow you to keep a constant bass line going without requiring you to use a lot of fingers. You then can use the freed up fingers to play the melody and harmonies that would be impossible to play if 2 of your fingers were anchored down playing the bass line.

In DADGAD, the 2nd string is only a major 2nd above the third string. Playing the 2nd string on any fret while simultaneously playing the 3rd string but fretting this string two frets higher than the 2nd string, you get a 12 string effect since both notes you are playing are indentical. A very good example of this is Zep's 'Kashmir'. DADGAD is also neither a major or a minor tuning since it lacks a third unlike Open G or D. Basically you can play both minor and major keys in this tuning while with open G, you basically have to stick to major keys. This is a big reason why a lot of fingerstylist are attracted to this tuning.

GL

[Jeff M]

Thanks for the info GL. I knew that there was some logic behind it.

[Brett Valentine]

As a "frustrated" classical player (did it undergrad in college), DADGAD has opened up new opportunities and has helped me "rethink" the fretboard and both left and right hands in terms of fingerstyle.

What has been great is creating arrangements of Carolan tunes like "Col. John Irwin," and "Fanny Poer" with just a bit of a "classical" flavor.

CGDGAD has also been a good one to work in, but I can't "think" in that tuning "on the fly "yet.

Brett

[gmccall]

Hello Jeff,

I have to give Gordon and Bret credit for being able to think in alternate tunings. I also studied classical for a number of years and that helps some.

I tend to lean toward devotion to conventional tuning but I find I must study DADGAD in order to round out my interest in Celtic music.

I must admit that it is like taking a Ribik's Cube from me, giving it a coupla twists, and returning it to me!! I find it quite confusing to use. I must admit there was a time I thought alternate tunings were "kind of cheating" and I guess that goes back to my classical training. But it used to upset me to find out that a song I wanted to learn was in alternate tuning.

I felt deprived of the chance to play these pieces as I became aware of just how many variations of alternate tunings there are out there, and how many tunes are actually done in some "altered tuning".

But, Jeff, it is true that an alternate tuning can be very beautiful on the guitar, and your favorite guitar may really astound you with it's sound in one of them.

Just be careful about tuning too high without proper understanding of using a custom string guage. You have to be careful there. Proper use of alternate tunings can take a lot of manipulation and preparation. I believe it is an area one has to devote considerable time to.

I tend to want to capitalize on my accumlated knowledge now, and just have fun playing, and not learn a new way to play the guitar.

Maybe it's my old age at 54?

Good luck, Jeff M.
-grm

[This message has been edited by gmccall (edited 01-27-2001).]

[Jeff M]

gmcall, I can see where the alternate tunings could take a while to get used to. I checked out Mark Hansens web site and he gives a good description of DADGAD. I do love that "Celtic sound" and will be diving into DADGAD before to long.

[Brett Valentine]

DADGAD is worth getting into. I've been enjoying doing arrangements in it. It's really enjoyable having a very wide spread of notes from low to high, and you can create some very dense and harmonically complex chords.

I think a good "first step" into DADGAD might be "Drop D" tuning if you're not using it already. If you're used to the way the bass moves tuned down a step, it can make Drop D seem almost like an open tuning; and it makes moving around the neck in the key of D much nicer by sliding that G up to the 5th fret.

I found learning the lowered A and D (1st and 2nd strings) of DADGAD a bit easier than getting used to the bass D. For me, the 1st and 2nd strings keep their relation to each other, and I simply shifted the notes on the 3rd string down 2 frets. Because the 2nd and 3rd strings are seperated by only a wholestep, I basically relate things to the 1st, 2nd, and 3rd strings as a group (as mentioned above), and the 5th, 4th, and 3rd strings as a group (which are the same as standard tuning). That bass a 5th below A is almost it's own animal, but with the 4th string D an octave above the 6th string, you almost automatically "know" what the 6th string is going to do.

. . .but I'm rambling. . .

That's just how I approach it.
Brett