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Benefits and drawbacks to alternate tunings?

Persona87

Persona87

Dec 4, 2012
918
596
DFW, Texas
#1
I used to be really big on the idea of playing six strings. I mean, who wouldn't love extra low end and extra high end? The problem is that, for me, the idea was never as cool as the reality. I didn't like the huge necks or the heavy weight, and I never used both ends of the range at the same time. I've since gone back to four strings, and I'm much more comfortable.

That being said... I still occasionally miss the extra highs and lows. I'm about to get my third four-string, and I'm thinking about trying out some alternate tunings; more specifically, one in standard, one in BEAD*, and one in ADGC (tenor) tuning.

I've never really experimented with alternate tunings, so I was curious about the benefits or drawbacks of using them. What are your thoughts?

*or maybe fifths CGDA tuning?
 
#3
The drawback is the time it takes to get used to it.
The benefits are the musical possibilities the new tuning present.

I use alternative tuning on my 6 E1,A1,D2,G2,C3,F3 and my 5 E1,A1,D2,G2,C3 (still in fourths)

For a while my 5 was tuned in fifths C1,G1,D2,A2,E3

Over the years I have used standard 5 and 6 tuning, flat, doubleflat, drop d as well.

I choose to tune a fourth higher as it extends the chordal and melodic possibilities whilst still retaining a standard bass low E, which can be dropped to D if I want those lower notes on hand. Another hidden advantage is pitchshifting effects work better, it sounds more natural to shift the pitchshift a low E down a fourth if I really need the low B notes, than it would to pitch up a C string to high F notes.

Tuning a 5 String in fifths was great, extends the range quite a lot. Takes a little while to know where things are at but definately doable, cello, viola and violin material fits really well of course. Chords can be voiced really wide in this tuning.

The only reason I switched back from fifths to fourths is I wanted my five to be strung with Thomastik Flats to give me a nice tonal option as my six is strung with D'Addario Nickel Rounds.

I recommend trying out different tunings until you find the one(s) that work for you best.
 
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#4
Persona87 said:
I used to be really big on the idea of playing six strings. I mean, who wouldn't love extra low end and extra high end? The problem is that, for me, the idea was never as cool as the reality. I didn't like the huge necks or the heavy weight, and I never used both ends of the range at the same time. I've since gone back to four strings, and I'm much more comfortable.

That being said... I still occasionally miss the extra highs and lows. I'm about to get my third four-string, and I'm thinking about trying out some alternate tunings; more specifically, one in standard, one in BEAD*, and one in ADGC (tenor) tuning.

I've never really experimented with alternate tunings, so I was curious about the benefits or drawbacks of using them. What are your thoughts?

*or maybe fifths CGDA tuning?
Click to expand...

I play a 6-string in standard tuning, and it has been my #1 since about 1995. I was able to get relatively comfortable on the 6-string in a couple of months, but didn't really feel totally at home on it for about 10 years. I don't really worry whether I use the low B or high C on every tune. They are there when I need/want them.

Before I learned to play 5-string and 6-string instruments, I would occasionally use drop D to cover the range of various songs. I felt the primary advantage was it allowed me to play one step lower. The disadvantage was I did not think in drop D. Also tuning to drop D was a bit faster than tuning to D standard. Of course tuning to D standard would be more intuitive because all of the strings are still tuned in fourths, but tuning to D standard takes longer and can also cause more intonation and setup problems.

There are certain styles of music were it is beneficial to detune because it makes playing licks easier. Basically you are using the open string instead of playing the lick on a B and E strings. I think it's also fair to argue that if the guitar is detuned that it will sound and work better to have the bass similarly detuned. This relates to heavy riff-based bass music where the guitar and bass are essentially playing a unison line. Course if the guitarist is playing a 7-string you probably need at least a 5-string with a low B.
 
#5
I forgot to mention I also tried tuning my five in flat fifth intervals, weird but playing octave lines was so easy.
Eb1,A1,Eb2,A2,Eb3

Basically before getting a six I tried lots of different tuning on my five just trying to get more out of it.

And I tried this hybrid fifth and fourth tuning, it didn't feel very natural to me but it might to someone else, almost a six string bass range on a five string
C1,G1,D2,G2,C3. Top three are the normal six string bass, I used a .085 for the G1 and a .125 for the C1.
 
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#9
lz4005 said:
OP's talking about detuning one bass by a fourth and uptuning another by a fourth. Both of which are alternate tunings.
Click to expand...
Yes he did.
But all four strings would be a fourth from each other.
The fingerings would be the same as standard tuning.


But fifths tuning would be a true alternate tuning.
The fingering patterns are altered.
There is a thread that goes in deep discussion of that.
The Fifths Tuning Club
 
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#11
lz4005 said:
Doesn't matter. Still an alternate tuning. Regardless of whether the intervals change or not.
Click to expand...

Using only fourths is not an alternate tuning in my book. It’s just either a down tuning or a set of different thickness strings (in the case of BEAD) for example. But it doesn’t really matter how you call it.

Some advantages of alternate tunings have been mentioned. Mostly they open up new ideas and sounds and they take you away from standard bass lines. Many times they are used by players with a solistic/guitar like approach to the instrument. I have used many open tunings myself but my main/home tuning always stays the fourths tuning.

I have written a book with solo guitar pieces each with a different open tuning. It is ready but it still needs to be published. But I am postponing it and it has been on the shelves for two years because it’s a small market for open tunings and there are not many publishers wanting to publish music books these days. Especially not the advanced and specialized stuff.
 
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#12
I like to tune my acoustic bass guitar DADA and play a little slide bass. Mark Sandman (Morphine) used to play a two string bass that was A D.

I tried to do EBEG# once ala Jimmy Page Bron-Y-Aur Stomp style, but that was a bust. It was the worst thing I ever heard.

I also used to do Drop D tuning and put a capo on the third fret so the open strings where FCFBb. I used that to play Street Fighting Man on bass guitar unaccompanied.
 

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