Chart of Recorded and Related Tunings
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ALTERED STATES of PERFORMANCE: SCORDATURA in the CLASSICAL GUITAR REPERTOIRE by COREY JAMES FLOWERS (Under the Direction Of
ALTERED STATES OF PERFORMANCE: SCORDATURA IN THE CLASSICAL GUITAR REPERTOIRE by COREY JAMES FLOWERS (Under the Direction of Michael Heald) ABSTRACT Scordatura is commonplace in the guitar repertoire, though there are relatively few resources available that explain the approach to its use, either from a performer’s or a composer’s perspective. Through examination of specific selections in the classical guitar repertoire, this document offers an introduction to various alternate tunings for the guitar, beginning with tunings used to transcribe lute and vihuela music, and progressing to modern experimentations found in the literature. Each piece on the accompanying recording provides insight into the use of these alternate tunings by highlighting specific musical characteristics that are made possible, or are idiomatic, in each tuning, such as extended ranges, open string relationships, unique chord voicings, and the ease of introducing contrasting tonal centers across a program. The CD provides a basis for aural comparison of the tunings and is a resource for performers interested in this repertoire. It also provides examples for composers and arrangers wishing to approach writing for the guitar using non-standard tunings. As additional resources, a glossary of terminology is provided, concerning tunings found in the document, as well as tunings used outside of the classical repertoire that may be useful for experimentation. An index of scordatura repertoire is provided as well, offering a broad overview of additional repertoire for further -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Alternate Tuning Guide
1 Alternate Tuning Guide by Bill Sethares New tunings inspire new musical thoughts. Belew is talented... But playing in alternate Alternate tunings let you play voicings and slide tunings is impossible on stage, retuning is a between chord forms that would normally be nightmare... strings break, wiggle and bend out impossible. They give access to nonstandard of tune, necks warp. And the alternative - carry- open strings. Playing familiar fingerings on an ing around five special guitars for five special unfamiliar fretboard is exciting - you never know tuning tunes - is a hassle. Back to EBGDAE. exactly what to expect. And working out familiar But all these "practical" reasons pale com- riffs on an unfamiliar fretboard often suggests pared to psychological inertia. "I've spent years new sound patterns and variations. This book mastering one tuning, why should I try others?" helps you explore alternative ways of making Because there are musical worlds waiting to be music. exploited. Once you have retuned and explored a Why is the standard guitar tuning standard? single alternate tuning, you'll be hooked by the Where did this strange combination of a major unexpected fingerings, the easy drone strings, 3rd and four perfect 4ths come from? There is a the "new" open chords. New tunings are a way to bit of history (view the guitar as a descendant of recapture the wonder you experienced when first the lute), a bit of technology (strings which are finding your way around the fretboard - but now too high and thin tend to break, those which are you can become proficient in a matter of days too low tend to be too soft), and a bit of chance. -
DADGAD Tuning and Using Partial Capos
2 DADGAD Tuning and Using Partial Capos All four of the guitars I used to record One Size Does Not Fit All (pictured on the recording cover) were tuned to DADGAD intervals, that is the string above the bass string, the 5th string, is a fifth above the bass note, the next string, the 4th, is a fourth above that (an octave above the bass string), the 3rd string is a fourth above the 4th string, the 2nd is a second above the 3rd, and the 1st string is a fourth above the 2nd (or an octave above the 4th string). With the bass note at D, the strings then are tuned D, A, D, G, A and D, but if the bass note is a C then the strings are tuned C, G, C, F, G and C (the 5th string here, G, is a fifth above the bass C, the 4th string is a fourth above that, or an octave above the bass string, and so on.) So, when the bass string is tuned to B♭ applying the same intervals yields a tuning of B♭FB♭E♭FB♭. Shorthand could describe the intervals by the numbers: 54424. DADGAD, also called open Dsus4 tuning, is easier to pronounce than EADGBE, intervals 44434 (which is why everyone calls it “standard tuning”!), but try pronouncing CGCFGC or, worse, B♭FB♭E♭FB♭! Worse yet is the tuning you get when you put a full capo on the second fret of a DADGAD-tuned guitar, EBEABE—try pronouncing that one a few times and the men in the white coats may show up to haul you away! So, I commonly refer to these tunings (you’ll see why in a moment) as “C-gad” or “B♭-gad.” To tune to DADGAD from “standard” tuning, EADGBE, just drop the 1st, 2nd, and 6th string pitches by one whole step, that is tune the bass E down to D, and similarly tune the two high strings down one whole step. -
The Use of Scordatura in Heinrich Biber's Harmonia Artificioso-Ariosa
RICE UNIVERSITY TUE USE OF SCORDATURA IN HEINRICH BIBER'S HARMONIA ARTIFICIOSO-ARIOSA by MARGARET KEHL MITCHELL A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC APPROVED, THESIS COMMITTEE aÆMl Dr. Anne Schnoebelen, Professor of Music Chairman C<c g>'A. Dr. Paul Cooper, Professor of- Music and Composer in Ldence Professor of Music ABSTRACT The Use of Scordatura in Heinrich Biber*s Harmonia Artificioso-Ariosa by Margaret Kehl Mitchell Violin scordatura, the alteration of the normal g-d'-a'-e" tuning of the instrument, originated from the spirit of musical experimentation in the early seventeenth century. Closely tied to the construction and fittings of the baroque violin, scordatura was used to expand the technical and coloristlc resources of the instrument. Each country used scordatura within its own musical style. Al¬ though scordatura was relatively unappreciated in seventeenth-century Italy, the technique was occasionally used to aid chordal playing. Germany and Austria exploited the technical and coloristlc benefits of scordatura to produce chords, Imitative passages, and special effects. England used scordatura primarily to alter the tone color of the violin, while the technique does not appear to have been used in seventeenth- century France. Scordatura was used for possibly the most effective results in the works of Heinrich Ignaz Franz von Biber (1644-1704), a virtuoso violin¬ ist and composer. Scordatura appears in three of Biber*s works—the "Mystery Sonatas", Sonatae violino solo, and Harmonia Artificioso- Ariosa—although the technique was used for fundamentally different reasons in each set. In the "Mystery Sonatas", scordatura was used to produce various tone colors and to facilitate certain technical feats. -
Guitar Tunings
Guitar tunings Guitar tunings assign pitches to the open strings of guitars, including acoustic guitars, electric guitars, and classical guitars. Tunings are described by the particular pitches denoted by notes in Western music. By convention, the notes are ordered from lowest-pitched string (i.e., the deepest bass note) to highest-pitched (thickest string to thinnest).[1] Standard tuning defines the string pitches as E, A, D, G, B, and E, from lowest (low E2) to highest (high E4). Standard tuning is used by most guitarists, and The range of a guitar with standard frequently used tunings can be understood as variations on standard tuning. tuning The term guitar tunings may refer to pitch sets other than standard tuning, also called nonstandard, alternative, or alternate. Some tunings are used for 0:00 MENU particular songs, and might be referred to by the song's title. There are Standard tuning (listen) hundreds of such tunings, often minor variants of established tunings. Communities of guitarists who share a musical tradition often use the same or similar tunings. Contents Standard and alternatives Standard Alternative String gauges Dropped tunings Open tunings Major key tunings Open D Open C Open G Creating any kind of open tuning Minor or “cross-note” tunings Other open chordal tunings Modal tunings Lowered (standard) E♭ tuning D tuning Regular tunings Major thirds and perfect fourths All fifths and “new standard tuning” Instrumental tunings Miscellaneous or “special” tunings 1 15 See also Notes Citation references References Further reading External links Standard and alternatives Standard Standard tuning is the tuning most frequently used on a six-string guitar and musicians assume this tuning by default if a specific alternate (or scordatura) is not mentioned. -
An Overview of Open Tunings for the Dances of Universal Peace
An Overview of Open Tunings for the Dances of Universal Peace The standard guitar tuning, EADGBE, works well for so many Dances. Yet, for others, or for leaders who may not feel fully proficient with standard tuning, an open-tuned guitar works beautifully. Indeed, in the early years of the Dances, leaders who wanted some basic accompaniment to the voice found satisfaction with open-tuned guitars. Unlike others kinds of open tunings, these specialized tunings were based upon the tamboura (aka, tanpura) common to most forms of Indian music. These tunings involve only two notes which create a dronal foundation over which any melody can be sung. One of the beautiful things about the open-tuned guitar is that no chords are necessary for this kind of basic support of the voice and Dance. And, because many forms of Asian and Middle-Eastern music are “melody-over-drone” music, many of the Dances affiliated with those traditions sound especially lovely with an open-tuned guitar. If you have read this far, chances are you are interested in exploring the open-tuned guitar for the Dances. Maybe you know something about them already and you're ready to dive in. But, you may have some questions: Which is better, standard or open-tuned guitar? Will I need a dedicated guitar, or can I switch back and forth from standard to open tuning on one guitar? Is there more than one open tuning? Which tuning is best for me and how will I decide? Will I need to buy different strings? Will I need to learn lots of new chords? Can I play melodies, instead of chords? You may have other questions. -
Peavey AT-200™ Auto-Tune® Guitar
Peavey AT-200™ Auto-Tune® Guitar Owner's Manual IMPORTANT SAFETY INSTRUCTIONS WARNING: When using electrical products, basic cautions should always be followed, including the following: 1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with a dry cloth. 7. Do not install near any heat sources such as radiators, heat registers, stoves or other apparatus (including amplifiers) that produce heat. 8. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 9. This electrical apparatus should not be exposed to dripping or splashing and care should be taken not to place objects containing liquids, such as vases, upon the apparatus. 10. Exposure to extremely high noise levels may cause a permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a sufficient time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the following permissible noise level exposures: Duration Per Day In Hours Sound Level dBA, Slow Response 8 90 6 92 4 95 3 97 2 100 1 1⁄2 102 1 105 1⁄2 110 1⁄4 or less 115 According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. -
Topological Considerations for Tuning and Fingering Stringed Instruments
Topological Considerations for Tuning and Fingering Stringed Instruments Terry Allen, Camille Goudeseune Beckman Institute, University of Illinois at Urbana-Champaign [email protected], [email protected] Abstract Pitch is continuous, but as we are discussing fretted stringed instruments, we temper the octave into twelve We present a formal language for assigning pitches to equal semitones (equal temperament). Then we represent an strings for fingered multi-string instruments, particularly interval as not a ratio but an integer counting the number of the six-string guitar. Given the instrument’s tuning (the semitones between two pitches. Thus, in the familiar way, strings’ open pitches) and the compass of the fingers of the 12 represents an octave, 7 a perfect fifth, 1 a semitone. If hand stopping the strings, the formalism yields a framework we fix a reference pitch, then we can similarly represent for simultaneously optimizing three things: the mapping any pitch as an integer, namely the integer representing the of pitches to strings, the choice of instrument tuning, and interval from the reference to the pitch in question. In the the key of the composition. Final optimization relies on context of a particular tuning of an instrument, the reference heuristics idiomatic to the tuning, the particular musical pitch is often that of the lowest string, played unfretted (see style, and the performer’s proficiency. below). A string is defined by what it can do: sound a pitch 1. Introduction from a contiguous range bounded at both ends by the The ‘guitar fingering problem’ is, less colloquially, the find- fingerboard’s finite length. -
The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM
GuitarPlayer: The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM | Sign-In | GO HOME NEWS ARTISTS LESSONS GEAR VIDEO COMMUNITY SUBSCRIBE The 50 Greatest Rhythm Guitarists Darrin Fox Tweet 1 Share Like 21 print ShareThis rss It’s pretty simple really: Whatever style of music you play— if your rhythm stinks, you stink. And deserving or not, guitarists have a reputation for having less-than-perfect time. But it’s not as if perfect meter makes you a perfect rhythm player. There’s something else. Something elusive. A swing, a feel, or a groove—you know it when you hear it, or feel it. Each player on this list has “it,” regardless of genre, and if there’s one lesson all of these players espouse it’s never take rhythm for granted. Ever. Deciding who made the list was not easy, however. In fact, at times it seemed downright impossible. What was eventually agreed upon was Hey Jazz Guy, October that the players included had to have a visceral impact on the music via 2011 their rhythm chops. Good riffs alone weren’t enough. An artist’s influence The Bluesy Beauty of Bent was also factored in, as many players on this list single-handedly Unisons changed the course of music with their guitar and a groove. As this list David Grissom’s Badass proves, rhythm guitar encompasses a multitude of musical disciplines. Bends There isn’t one “right” way to play rhythm, but there is one truism: If it feels good, it is good. The Fabulous Fretwork of Jon Herington David Grissom’s Awesome Open Strings Chuck Berry I don"t believe it A little trick for guitar chords on mandolin MERRY, MERRY Steve Howe is having a Chuck Berry changed the rhythmic landscape of popular music forever. -
Guitar Instruction & Technique
guitar instruction & technique 1280 Absolute Beginners Series 1290 Hal Leonard Guitar Starter Kits 1320 At a Glance Series 1272 Hal Leonard Guitar Tab Method 1330 Capo 1286 Kids Instructional Methods 1287 ChordBuddy 1285 Wolf Marshall Guitar Method 1302 Chords, Scales, Arpeggios & 1331 Music Theory Picking 1332 Pedals/Effects 1282 The Complete Guitar Player 1276 Play Today®! 1326 Compact Reference Library 1323 Pocket Guides 1322 Crash Course Collection 1314 Posters ® 1330 Dobro 1333 Reading, Notation & Arranging 1295 DVDs 1329 REH Guides 1269 Essential Elements for Guitar 1335 Rhythm Guitar 1283 Fast Forward 1336 Set-Ups and Maintenance 1274 FastTrack Music Instruction 1337 Slide Guitar 1288 General Guitar Instruction 1290 Starter Kits 1325 Gig Bag Series 1278 Step One Series 1301 Guitar Decks 1340 Technique 1260 Hal Leonard Guitar Method 1338 Tuning 2015 1260 HAL LEONARD GUITAR METHOD METHOD BOOKS HAL LEONARD GUITAR METHOD BOOK 1 – 2ND EDITION HAL LEONARD The Hal Leonard Guitar Method is designed for anyone just learning to play acoustic or electric guitar. It is based on years of teaching guitar students of all ages, and it also reflects some of the best guitar teaching ideas from around the world. Book 1 provides beginning instruction which includes tuning; playing position; musical symbols; notes in first position; GUITAR METHOD the C, G, G7, D, D7, A7, and Em chords; rhythms through eighth notes; strumming and picking; and 100 great songs, riffs, and examples. Added features are a chord chart and a selection of well-known songs, including Ode to Joy • Rockin’ Robin • Greensleeves • Give My Regards to Broadway The #1 selling guitar method in the world, the • and Time Is on My Side. -
A Complete Technical Reference for Fretted Instrument String Tensions Table of Contents Introduction
Catalog Supplement/String Tension Specifications A complete technical reference for fretted instrument string tensions Table of Contents Introduction Technical Reference for fretted instrument string tensions 4 his brochure was created to assist in Guitar and Bass Fingerboard Legends 5 Tselecting the ideal string for your instrument and playing style. Included in this brochure String Tensions are tension tables and formulas to help you Acoustic or Electric Guitar 6 calculate what tension a particular string will Pedal Steel Guitar 7 have on your instrument. Acoustic Guitar 7 Classical Guitar 8 Folk Guitar 10 Electric Bass Guitar 10 Acoustic Bass Guitar 13 Mandolin Family Strings 13 Banjo & Loop End Strings 14 A complete technical reference for fretted instrument string tensions Understanding what determines string tension. In order to determine the tension at which a string will vibrate, you need three pieces of information: the Unit Weight, the Scale Length, and the Frequency of the string. You can use the charts in this brochure to get a pre-calculated tension for the D’Addario strings listed or you can use the formulas below to calculate the exact tension for any string using the scale length of your particular instrument. All of the charts illustrate string tensions for each string at a variety of pitches, in case you use alternative tunings. UW- Unit Weight. In all the charts and formulas in the brochure, unit weight is expressed in pounds per linear inch (lb/in). L- Scale Length. This is the vibrating length of the string. This is determined by measuring the distance from the nut to the bridge of the instrument in inches (in).