Tag Archives: Guitar

Guitar

Alternate

 

 

Guitar Tunings / Alternate
Names Nomenclature Pitch Tunings
Standard Renterant E m11th E / A / D / G / B / E
Semitone Renterant Eb Eb / Ab / Db / Gb / Bb / Eb
Tone Down Renterant D D / G / C / F / A / D
Renterant D# D# / G# / C# / F# / A# / D#
Renterant C# C# / F# / B / E / G# / C#
* * * *
Lute Renterant E / A / D / F# / B / E
Lute No. 2 Renterant E / A / D / F# / A / E
Renterant A Sus 4/7 E / A / D / G / A / E
Lazy D Renterant D E / A / D / G / B / D
E / A / D / E / A / E
All Fourths Renterant F F / A / D / G / C / F
New Standard Renterant C / G / D / A / E / G
Augmented 4ths Renterant F C / F# / C / F# / C / F#
* * * *
 Dropped  A A / G / C / F / A / D
Semitone Down Dropped A# / Bb A# / F / A# / D# / G / C
Dropped B B / F# / B / E / G# / C#
Dropped B B / Gb / Bb / Eb / Ab / Db
Major S6th C / A / D / G / B / E
* * * *
Modal C C / F / C / G / C / D
Double Drop C C / G / C / F / A / C
Dropped C C / G / C / F / A / D
Dropped C# C# / G# / C# / F# / A# / D#
Open C# C# / G# / C# / F / G# / C#
Alternate Dropped C Sus 4/9 C / G / C / E / G / D
Vestapol Open C C / G / C / E / G / C
Dropped C Sus 4 C / G / C / F / G / C
Dropped C Sus 4/9 C / G / C / F / C / D
C C / G / C / G / C / D
Open C6 C / G / C / G / A / E
Modal C / G / C / G / B / D
Open C Maj 7 C / G / C / G / B / E
Orkney Modal G Sus 4/4 C / G / C / G / C / D
C / G / C / G / C / E
* * * *
Dropped C C / G / D / G / A / D
Open G / C Add4 C / G / D / G / B / D
Dropped C C / G / D / G / B / E
C Sus 2 C / G / D / G / C / D
Open C C / G / D / G / C / E
* * * *
C6th Lap Steel C6 C / E / G / A / C / E
Major Thirds Major C C / E / G / C / E / G
* * * *
Dropped D Min 7 D / A / D / F / A / C
Dropped D Maj 7 D / A / D / F# / A / C#
Dropped D Minor D / A / D / F / A / D
Dropped D 6/9 D / A / D / F# / B / E
Open D Major D / A / D / F# / A / D
Open B Min 7 D / A / D / F# / B / D
D# D# / A# / D# / F / A# / E
* * * *
D A D G A D Modal D Sus 4 D / A / D / G / A / D
Open A Sus 4 D / A / D / G / A / E
Double Dropped D D / A / D / G / B / D
Double Dropped D Dropped Db Db / Ab / Db / Gb / Bb / Db
Dropped D Dropped  D D / A / D / G / B / E
D# / A# / D# / G# / C / F
* * *  *
Open E Sus 2 E / B / E / F# / B / E
Open E Minor E / B / E / G / B / E
Open E Major E / B / E / G# / B / E
* * *  *
Open F C / F / C / F / A / C
F 5th C / F / C / F / C / F
F Sus 2 C / G / C / F / G / C
Open F F / A / C / F / C / F
Open F F / A / C / F / C / F
Open F F / Ab / C / F / C / F
Alternate Cross-Note F F / C / F / Ab / C / F
Curtis Mayfield F# F# / A# / C# / F# / A# / F#
* * *  *
D / G / D / F# / B / D
D / G / D / F# / B / E
D / G / D / G / A / D
D / G / D / G / A / E
G6 D / G / D / G / B / E
Dropped G D / G / D / G / B / D
Dobro Open G G / B / D / G / B / D
* * * *
Alternate Open A Major E / A / C# / E / A / C#
Open A Major E / A / C# / E / A / E
Alternate Open A Major E / A / C# / A / C# / E
Slide Open A Major E / A / E / A / C# / E
* * * *

Papua New Guinea

 

Papua New Guinea Guitar Tunings
Names Nomenclature Region Tunings
Standard Em11th * E / A / D / G / B / E
Faiv Ki E / A / B / F# / B / D#
Faiv Ki E / A / B / E / G# / B
Faiv Ki F / Bb / C / G / C / E
Faiv Ki F / Bb / C / F / A / C
Samoan Ki G / A / D / A / D / F#
C Ki East New Britain G / C / D / G / B / D
Samoan Ki Open D Maj 7 Hood Lagoon D / E / A / E / A / C#

Citations: Bibliography: Guitar Style, Open Tunings, and Stringband Music in Papua New Guinea by ~ Denis Crowdy ; Apwithirer: Studies in Papua New Guinea Musics, 9 ; Three: Analysis – Samoan Ki and the Hood Lagoon Area Page 46, Page 60 ; ISBN 9980-68-048-2 [book] Websites ; George Winston [georgewinston.com – Slack Key Information Booklet ; Section III ] ;

Africa

 

Guitar Tunings / West Africa
Names Nomenclature Tunings
Taara No. 1 C Maj 6th C / A / D / G / B / E
Sinquente Cix Open G Major D / G / D / G / B / D
F / A / D / G / C / E
Taara No. 2 F / C / D / G / B / E
Jarabi F / C / D / G / C / E
Wassalou / Songhai Raised G Major G / A / D / G / B / E
Djeli Madi Tounkara C / Bb / D / G / C / F
Djeli Madi Tounkara Rentrant C# C# / F# / B / E / G# / C#

Citations: Bibliography: Mande Music by Eric Charry pp. 288-290 Guitar Tuning ~ Traditional And Modern Music of the Maninka and Mandinka of Western Africa. The University of Chicago Press ISBN 0-226-101062-2 © 2000 ;

Guitar Tunings / Central & East Africa
Names Nomenclature Tunings
Standard E / A / D / G / B / E
Mi Composé E / A / [d] / G / B / E
Jean Bosco Mwenda F / A / D / G / C / E
Botswana F / X / A / C / F / X
Daniel Kachamba Full C
Daniel Kachamba Half C
Daniel Kachamba LG
Daniel Kachamba KG High Six
Daniel Kachamba CG
Daniel Kachamba Spanish E / C# / A / E / A / E
Zambia D Maj 7 D / A / D / F# / A / C#
Hauyani G / E / C / G / E / C
Hauyani G / E / C / G / C / C

Note: The “X” denotes removed strings. Mi Composé tuning as used for Rumba and Soukous in Congo DRC, differs from the standard tuning. In which only the D string has been replaced with an bottom E string to raise the D to an entire octave.

Citations: Bibliography: Theory of African Music Volume II by Gerhard Kubik – Chapter IX Genealogy of a Malawian Musician Family pp. 247 ISBN-13: 978-0-226-45694-2 ISBN-10: 0-225-45694-3 ; Garland Encyclopedia Book Africa [book & audio cd] ; Africa & The Blues by Gerhard Kubik ; Some Characteristics Of The Blues Page 83 ; University Press of Mississippi ; ISBN 978-1-57807-146-4 ;

Cuatro Venezuelan

Name: Cuatro Venezuelan.
Type: Chordophones > Lute > Guitarillos > Cuatro.
Hornbostel-Sachs No#: 321.322.6
Country: Venezuela.
Region: Caribbean & Central America.

Description: The cuatro is the name of a family of Latin American instruments found in South America, Trinidad & Tobago and in Puerto Rico and other parts of the Caribbean.  Differences of the cuatros with in this family can vary by shape, size and tuning.

In Spanish the word cuatro means “four” the instrument’s 15th century predecessor was the Portuguese cavaquinho which has four strings, like the original cuatro, modern cuatros often have more than four strings.

Cuatro Venezuelano Tunings
Standard A / D / F# / B
Freddy Reyna E / A / C# / F#

Varieties: However there are variations of this instrument that are considered national instruments, [e.g.. Venezuela]. The cuatro is widely used in ensembles in Jamaica, Mexico, and Surinam to accompany singing and dancing. In Trinidad and Tobago it accompanies Parang singers. In Puerto Rico and Venezuela, the cuatro is an ensemble instrument; for secular and religious music and is played at parties and traditional gatherings.

Modern cuatros come a variety of sizes and shapes and number of strings. Cuatros can either have single-strings like a guitar, or double or triple courses of strings like a mandolin, and vary in size from a large mandolin or small guitar, to the size of a full-size guitar. Depending on their particular stringing, cuatros are part of the guitar or mandolin subfamilies of the lute family.

Citations: Bibliography: “Instrumentos Musicales de Venezuela: Cuatro”. Diccionario Multimedia de Historia de Venezuela, Fundación Polar ; Fredy Reyna: Alfa Beta Cuatro – Monte Avila Editores 1994 ; Alejandro Bruzual : Fredy Reyna – Ensayo biográfico – Alter Libris 1999 ;

Dan Luc Huyen Cam

Name: Dan Luc Huyen Cam.
Type: Chordophones > Lutes > Guitar > Scalloped.
Hornbostel-Sachs No#: 321.322.6
Country: Vietnam.
Region: South East Asia.

Description: The đàn lục huyền cầm [literal translation “lute with six strings”], or colloquially đàn ghi-ta phím lõm the literal translation is ghi ta, “guitar”, phim “fret”, lom, “sunken.  This particular type of guitar is a Vietnamese adaptation. The guitar was adopted by Vietnamese musicians during the 19th Century. This form of guitar is commonly used in cải lương or “Southern Reformed Theater.    Having a scalloped fingerboard allows for note bending and other ornamentation that are featured throughout Vong Co.  

Citations: Bibliography: Adelaida Reyes Songs of the Caged, Songs of the Free: Music and the Vietnamese Refugee Experience 1999 Page 186 “This “doctoring” involves carving the fingerboard deeper between the frets, making the fingerboard look scalloped. … Also called lục huyền cầm [literally, guitar; see Jones-Bamman 1991:73-75] or Vietnamese guitar, the instrument has six strings.” ; The Garland handbook of Southeast Asian music – Page 262 Terry E. Miller, Sean Williams 2008 “Lục huyền cầm “six-stringed instrument” and dan ghi-ta are Vietnamese terms for the Western guitar, used in traditional …” ; Cải lương is also called Southern Reformed Theater [Nguyen and Campbell 1990:28; Pham Duy 1975:112] ; Websites : Encyclopedia of Vietnamese Music ;

Seminstrunnaya Gitara

Name: Seminstrunnaya Gitara.
Type: Chordophones > Lutes.
Hornbostel-Sachs No#: 321.322.6
Country: Russian Federation.
Region: Eastern Europe.

Description: The Russian guitar [in Russian: семиструнная гитара], sometimes referred to as a “Gypsy guitar”. This type of acoustic seven-string guitar was developed in Russia towards the end of the 18th century. While sharing most of the same organological features with the Spanish guitar.

Some historians insist on English guitar ascendancy. It is known in Russian as the semistrunnaya gitara [семиструнная гитара], or affectionately as the semistrunka [семиструнка], which translates to “seven-stringer”.

History: Although a number of sources associate the invention of the Russian guitar to Andrei Sychra [1773 – 1850]. There are strong reasons to believe that the instrument was already in use when Sychra began his career. Sychra was very influential in creating the school of Russian guitar playing.

He was a very prolific composer leaving a thousand compositions, seventy-five of which were republished in the 1840s by Stellovsky and then again in the 1880s by Gutheil. Some of these were published yet again in the Soviet Union in 1926.

Usage: The Russian version of the seven-string guitar has been used by professionals because of its great flexibility, but has also been popular with amateurs for accompaniment [especially Russian bards] due to the relative simplicity of some basic chords and the ease of playing alternating bass lines.

Tuning: Although these instruments appear similar in shape and acoustics. The Russian and Spanish guitars are tuned differently. The Spanish guitar in tuned to a reentrant tuning containing the intervals of fourths and thirds being the bottom D / G and B strings. Where as the Russian 7 string guitar tuning centres on a G major, the first and most common tuning tuning is an Open G not dissimilar to the Open G “Spanish” or “Tarro Patch” tuning for the six string guitar, with an added bass note being the D bass string.

Seminstrunnaya Gitara Tunings
Names Tunings
Open G D / G / B / D / G / B / D
Bulat Okudzhava D / G / C / D / G / B / D 
D / G / C / D / G / B♭ / D
Tuning in Classical lit. C / G / B / D / G / B / D
G / B / D / G / B / D / G

Citations: Bibliography: Casey, Fred 2003 From Russia, with strings attached, American Lutherie: The Quarterly Journal of the Guild of American Luthiers [Instrument Plan]. 8222 South Park Avenue, Tacoma WA 98408 USA – The Guild of American Luthiers. Number 75; Anatoly Shiryalin, “Guitar poem”, Moscow, 1994 p.11; Timofeyev, O. and Bazzotti, M – The Seven-String Guitar in 19th-Century Russian Culture; phee, Matayana – A Brief History of the Russian Seven-String Guitar ;

Indonesia

 

Indonesian Guitar Tunings
Names Nomenclature Tunings
Stem Las Bas F / C / D / G / B / E
Kemayoran F / C / D / G / C / E
Stem Pal F / Bb / D / G / C / E
Stem Krembang Kacang F# / A / C# / F# / B / E
Los Quinn Tallu-Tallu G / C / D / G / B / D
Karambagan G / A / D / G / B / E
E Minor E / B / D / G / B / E
Andu Andu Rudang A Sus 4/7 E / A / D / G / A / E
Rabana E Minor E / A / E / G / A / E

Citations: Discography: Liner Notes from the Music of Indonesia Series Vol. 20 Indonesian Guitars SFW40447 pp. 10-11 [adobe PDF file] ;