The Fifths Tuning Club

[ThomClaire]

On the subject of the different ways to tune in fifths, has anyone here tried tuning DAEB?

I've been wanting to try, but I don't know what tensions to use.

 

[~M.o.M~]

Not exactly. This is a sore subject every time I try to tell fretless bass players here that they could play with better intonation than many of their fretless bassist idols have. I get all kinds of push back and most of it is pure nonsense. String players attempt to play every note not so much in tune as appropriately. The best ones play every note right on the pitch they intend it to have but the pitch they intend will vary depending on circumstances. I think that solo violinists may play a pythagorean scale at times, a just scale at other times, and even tempered when they are playing against an even tempered accompanying instrument. They play ascending passages using different pitches they use for the same notes on descending passages. They play everything so it sounds "right" whether that matches some standard tuning system or not. String ensembles have to match each other of course and I think they generally play to just intonation, as do vocal ensembles. You can do all that on a fretless bass too but first you have to learn to play notes on the pitch you intend which takes very many more hours of devoted practice than the average TB fretlesss bassist can imagine, and then you have to develop a good sense of what is the right pitch for this note in this situation. It is well beyond me, but I do at least realize what excellent musicians can accomplish with instruments that are not fixed in pitch. I saw an excellent article online about violin intonation once and I would dearly love to post a link to it every time this subject comes up. Alas, I cannot find it anymore.

I agree on every single point.
A week ago I was trying to explain the "just intonation" stuff to a fellow bassist, specifically how a note (a D for example) is pitched differently in different scales (let's say C major and G major).
But due to my lack of sleep at that time, he thought I was talking about intonation, and told me that stuff like that can be fixed by adjusting the frets if they're wrongly positioned.
My fault for not being specific enough.
To make for the lack of that article you mention, I'll post a link to the site that helped me understand the subject: http://www.kylegann.com/tuning.html

Yeah, that looks right. If you have some specific questions I can answer them. I can make some general comments now. There are four seven string blocks where you can set up a string choice, scale length, tuning, etc. I made four so that people could compare string selections they may be considering and four fit on my laptop's screen comfortably. Each block has seven string slots because I wanted to make it useful for as many people as possible. I am considering baritone guitars and bass VI guitars right now and some baritones have seven strings. Six string basses are fairly typical. If you are one of the few who has more than seven strings you can use two or more blocks to set up your string choices. There are two columns near the center of the page that are mostly red blocks. Those blocks hide cells where you can enter string by string scale lengths (for multi-scale instruments) or string by sting note selections if your tuning doesn't match any of the standard tunings that you can select from one of the cells in the left hand column. To enable string by string note selection you specify the "Free" tuning option in the tuning cell in the left column. To enable string by string scale length specification type "0" (zero) in the scale length cell in the left column.

I am still finding bugs from time to time so if something doesn't work, let me know and I will fix it.

Ken

It makes sense now, thanks!
I haven't toyed with it much, but I'll surely report whatever bugs I may find.
Ah, by the way, I'm thinking of adding the links to your string tension calculator and your explanatory post in the first post, along with the cello drill. Shall I go for it?

Nice to see there are some more CGda players.
I began playing in fifths in 2003, 'cause one of my favourite bass players - Philippe Bussonnet of Magma - tunes his bass this way.
Gauges are .040 - .060 - .090 - .145 (D'Addario Nickels).

Magma! So glad you mentioned them!
No matter how hard I was trying to find that band with their made up language, the name wouldn't pop up!
Thanks for mentioning Philippe Bussonnet, too. For some reason I thought it was only Jannick Top that tuned in fifths, due to his cello background.
Since I mentioned him, here's a video of Jannick playing the prelude of Bach's first Cello suite (on bass, of course!): , on the second paragraph).

 

[khutch]

On the subject of the different ways to tune in fifths, has anyone here tried tuning DAEB?

I haven't tried that. I have tried GDAE which gives a nice baritone voice for solos and chording without being too high to do normal bass lines. I've thought about FCGD too which gets you even closer to the normal bass low E. Anything that suits your playing will work well. The CGDA and GDAE tunings have a small advantage in that they match the cello/viola and violin tunings which helps if you intend to play music written for those instruments.

The string calculator spreadsheet will help with tension and gauge calculations. I try to keep tensions between 35 and 45 pounds. The owner of bass strings online can help you with string gauge selection too if you tell him your scale length and tuning.

Ah, by the way, I'm thinking of adding the links to your string tension calculator and your explanatory post in the first post, along with the cello drill. Shall I go for it?

Sure, go ahead. Anyone can use them any way they like.

Ken

 

[~M.o.M~]

Sure, go ahead. Anyone can use them any way they like.

Done.

 

[ThomClaire]

DAEB seems the closest to Standard to me. That's just what I thought of when I was trying to think of a way to tune in fifths. The only thing that concerns me is tuning the D string to an E.

 

[scaai]

Magma! So glad you mentioned them!
No matter how hard I was trying to find that band with their made up language, the name wouldn't pop up!
Thanks for mentioning Philippe Bussonnet, too. For some reason I thought it was only Jannick Top that tuned in fifths, due to his cello background.
Since I mentioned him, here's a video of Jannick playing the prelude of Bach's first Cello suite (on bass, of course!):

Ah, I almost forgot.
.145?! Ain't that a little huge?
And one more thing: Would you like a club member number?

In 2002 I've been at a concert of Magma for the first time and I kept an eye on Phil's playing, so I figured out he's playing in fifths like Jannick.
My problem always was that I never found a good sounding string for the C regardless if I took a .125 or .135.
3 years ago Phil told me about the string gauges he's using. He follows the principle of equal tension and so you'll get 0.145 for C.
After stringing my bass with a set like this it just began to sound beautiful. But you have to press the C-string down at the angles at the saddle and the bridge several times until it is really straight.
Phil also told me that he's practising the cello suites a lot. These pieces are like magic: You train ( Don't know if this is the right word...) your fingers, learn scales, arpeggios, melody and expression and all this while playing wonderful music.

Thanks for the vid; already know it from one of the Mythes & Legendes DVDs.

And yes: Please count me in!

 

[khutch]

Here is a collection of links related to fifths tuning. The first few are other TB threads (mostly):

The Unpopular Fifths Tuning

Oregon (Glen Moore)

Anybody Tune In Fifths?

Tuning A Bass In Fifths

The Unpopular Fifths Tuning


Fifths Tuning (tutorgigpedia.com)

And here are a few about bassists who tune in fifths:

Link Removed

[Invalid or Expired Link Removed]

Dennis Masuzzo (Dennis has an instructional book on playing in fifths for double bassists)

[Invalid or Expired Link Removed]

My apologies if some of these have already been mentioned above. There's some good summertime reading in these threads and I suppose if you can figure out how to load them into your tablet you can even read them on the beach somewhere. Enjoy!

Ken

 

[~M.o.M~]

Phil also told me that he's practising the cello suites a lot. These pieces are like magic: You train ( Don't know if this is the right word...) your fingers, learn scales, arpeggios, melody and expression and all this while playing wonderful music.

I'd be a fool to argue against that! Each time I visit that prelude, there's always something fresh about it!
Talking about strings, I use a balanced tension set too, my set being lighter, though. (An average of 40 lbs of tension per string, using a .130 for C, against your average of 48 lbs, using a .145)
Once I run out of .130 sets, I may use .145 too.

Welcome to the club, and sorry for the late reply. For some reason TB didn't show the new posts on the subscribed threads list.
You're number 4!

To khutch Link Removed:

Thanks a lot for your hard work! I'd add your post to the useful links section, but I can't edit the first post anymore.
Oh, and I'll surely have Red Mitchell be the zero member once we have enough members to make a list.

 

[JES]

Hi All,

Just found this thread and I'm very intrigued. I read music and so playing cello pieces might work, but I'd also really like a list of suggested fingerings for standard scales and chord tones.

I downloaded java just to do that cello fingering exercise Ken linked to in the first post, but honestly I am totally confused as to what it's trying to teach me.

Thanks.

--JES

 

[~M.o.M~]

It's supposed to teach you the positions of notes on the fingerboard. I totally understand the confusion, though.
Since there might be a lot more folks confused by the lack of frets, here's another resource:

StudyBass' Fretboard Printer.

This tool shows you the position of scales, chord tones and harmonic tones on the fingerboard, for any stringed instrument, in any tuning.
Use it whichever way you like.

Now, since you've wanted fingerings, here are some tabs.

• 
  A two octave C Major scale starting on the C string.
  I prefer the one-finger-per-fret approach for this one.

A |-------------------------0-2-3-|
D |-----------------0-2-3-5-------|
G |---------0-2-4-5---------------|
C |-0-2-4-5-----------------------|
      1 3 4   1 3 4   1 2 4   1 2

• 
  Another two octave C Major scale, this one starting on the C string's 12th fret, in order not to depend on open strings.
  I'm doing a quick hand shift when using the index finger to move onto the next note.

A |-------------------------------------12-14-15-|
D |-------------------------12-14-15-17----------|
G |-------------12-14-16-17----------------------|
C |-12-14-16-17----------------------------------|
     1  1  3  4  1  1  3  4  1  1  2  4  1  3  4

• 
  Now I know you'd expect some fingerings for minor scales, but, to be honest, I just use the major scale's pattern, starting on the sixth.
  So, instead of a minor scale, here's A minor pentatonic, starting on the C string's 9th fret.
  For this one I may use a different fingering, depending on where my hand is on the fingerboard.

A |-------------|
D |---------7-9-|
G |---5-7-9-----|
C |-9-----------|
    4 1 2 4 1 3
       (1)   (4)

• 
  Υou asked for chord tones' fingerings, so here's an arpeggios exercise.
  When ascending we'll use mostly the C, G and D strings.

A |-------------------------------------------------|
D |---------0-------------2-3-------------5-7-------|
G |-----0-5---2-------0-4-----5-2-----4-7-----9-5---|
C |-0-4---------5-2-4-------------5-7-------------9-|
      3   4   1 4 1 3   3 1 2 4 1 4 4 1 4 2 2 4 1 4

A |----------------------------------------------------------|
D |---------9-10------------------12-14-------------------15-|
G |----7-10------12-9-------10-14-------16-12-------14-17----|
C |-11----------------12-14-------------------16-17----------|
     4 1  4 2  2  4 1  4  4  1  4  2  2  4  1  4  4  1  4  2  

A |----------------------12-14-------------------15-|
D |-17-12-------------14-------15-12-------14-17----|
G |-------16-12-14-17----------------16-17----------|
C |-------------------------------------------------|
     4  1  4  1  1  4  2  1  3  4  1  4  4  1  4  2

• 
  When descending, we'll mainly use the G, D and A strings.
  This way we exhaust as many positions as we can in a single excercise.

A |-15-------------------14-12------------------10-8---------|
D |----17-14-------12-15-------14-10-------9-12------10-7----|
G |----------17-16-------------------14-12----------------10-|
C |----------------------------------------------------------|
     2  4  1  4  4  1  4  3  2  4  1  4  4 1  4  2 2  4 1  4

A |-------7-5-------------3-2-------------0-|
D |---5-9-----7-3-----2-5-----3-0-------2---|
G |-9-------------7-5-------------4-2-5-----|
C |-----------------------------------------|
    4 1 4 2 2 4 1 4 4 1 4 2 1 2   3 1 4 1

A |-----------------------------------------|
D |-5-0-----------3-2-------------0---------|
G |-----4-0---2-5-----4-0-------2---5-0-----|
C |---------5-------------4-2-5---------4-0-|
    4   3   4 1 4 2 1 3   3 1 4 1   4   3

That's it for now! If you want something more specific, or if you spot any mistakes on the tabs above, or have any suggestions in general, a post will certainly help.
Ah, and don't forget, the best fingering is the one you feel most comfortable with. Always be creative!

 

[brianerwin]

ok I am not musical genius but I also thought all basses were to be tuned in 5ths.
I have a 5 string tunes lowest to highest B E A D G.
If I am not mistaken these are 5ths. If I am wrong please correct me.
If I am right I'd like one of those said numbers.

 

[~M.o.M~]

Since the lowest string is B, your bass is tuned in 4ths, because the G is a perfect 4th above D, the D is a perfect 4th above A and so on.

This is indeed the standard tuning. Here in this thread we're talking about tuning the strings so that the next high string is a perfect 5th above the previous low one.

 

[TapyTap]

ok I am not musical genius but I also thought all basses were to be tuned in 5ths.
I have a 5 string tunes lowest to highest B E A D G.
If I am not mistaken these are 5ths. If I am wrong please correct me.
If I am right I'd like one of those said numbers.

If you get an opportunity, check out the term "interval" as it pertains to music theory. I bet you will really appreciate it, and an entire world of music will open up to you from a new perspective.

 

[brianerwin]

I am confused now. Are we talking half steps?
I am looking at this like this:
"B"- c, c#, d, d#, "E" - f, f#, g, g#, "A"......
Are these not 5ths?
Even if you go the other way it is still 5ths.

If we are talking "perfect" fifths then those are whole steps, right?

 

[JES]

It's supposed to teach you the positions of notes on the fingerboard. I totally understand the confusion, though.
Since there might be a lot more folks confused by the lack of frets, here's another resource:

StudyBass' Fretboard Printer.

This tool shows you the position of scales, chord tones and harmonic tones on the fingerboard, for any stringed instrument, in any tuning.
Use it whichever way you like.

Now, since you've wanted fingerings, here are some tabs.

• 
  A two octave C Major scale starting on the C string.
  I prefer the one-finger-per-fret approach for this one.

A |-------------------------0-2-3-|
D |-----------------0-2-3-5-------|
G |---------0-2-4-5---------------|
C |-0-2-4-5-----------------------|
      1 3 4   1 3 4   1 2 4   1 2

• 
  Another two octave C Major scale, this one starting on the C string's 12th fret, in order not to depend on open strings.
  I'm doing a quick hand shift when using the index finger to move onto the next note.

A |-------------------------------------12-14-15-|
D |-------------------------12-14-15-17----------|
G |-------------12-14-16-17----------------------|
C |-12-14-16-17----------------------------------|
     1  1  3  4  1  1  3  4  1  1  2  4  1  3  4

• 
  Now I know you'd expect some fingerings for minor scales, but, to be honest, I just use the major scale's pattern, starting on the sixth.
  So, instead of a minor scale, here's A minor pentatonic, starting on the C string's 9th fret.
  For this one I may use a different fingering, depending on where my hand is on the fingerboard.

A |-------------|
D |---------7-9-|
G |---5-7-9-----|
C |-9-----------|
    4 1 2 4 1 3
       (1)   (4)

• 
  Υou asked for chord tones' fingerings, so here's an arpeggios exercise.
  When ascending we'll use mostly the C, G and D strings.

A |-------------------------------------------------|
D |---------0-------------2-3-------------5-7-------|
G |-----0-5---2-------0-4-----5-2-----4-7-----9-5---|
C |-0-4---------5-2-4-------------5-7-------------9-|
      3   4   1 4 1 3   3 1 2 4 1 4 4 1 4 2 2 4 1 4

A |----------------------------------------------------------|
D |---------9-10------------------12-14-------------------15-|
G |----7-10------12-9-------10-14-------16-12-------14-17----|
C |-11----------------12-14-------------------16-17----------|
     4 1  4 2  2  4 1  4  4  1  4  2  2  4  1  4  4  1  4  2  

A |----------------------12-14-------------------15-|
D |-17-12-------------14-------15-12-------14-17----|
G |-------16-12-14-17----------------16-17----------|
C |-------------------------------------------------|
     4  1  4  1  1  4  2  1  3  4  1  4  4  1  4  2

• 
  When descending, we'll mainly use the G, D and A strings.
  This way we exhaust as many positions as we can in a single excercise.

A |-15-------------------14-12------------------10-8---------|
D |----17-14-------12-15-------14-10-------9-12------10-7----|
G |----------17-16-------------------14-12----------------10-|
C |----------------------------------------------------------|
     2  4  1  4  4  1  4  3  2  4  1  4  4 1  4  2 2  4 1  4

A |-------7-5-------------3-2-------------0-|
D |---5-9-----7-3-----2-5-----3-0-------2---|
G |-9-------------7-5-------------4-2-5-----|
C |-----------------------------------------|
    4 1 4 2 2 4 1 4 4 1 4 2 1 2   3 1 4 1

A |-----------------------------------------|
D |-5-0-----------3-2-------------0---------|
G |-----4-0---2-5-----4-0-------2---5-0-----|
C |---------5-------------4-2-5---------4-0-|
    4   3   4 1 4 2 1 3   3 1 4 1   4   3

That's it for now! If you want something more specific, or if you spot any mistakes on the tabs above, or have any suggestions in general, a post will certainly help.
Ah, and don't forget, the best fingering is the one you feel most comfortable with. Always be creative!

Thanks -- this is super helpful. I will give it a try!

 

[~M.o.M~]

I am confused now. Are we talking half steps?
I am looking at this like this:
"B"- c, c#, d, d#, "E" - f, f#, g, g#, "A"......
Are these not 5ths?
Even if you go the other way it is still 5ths.

If we are talking "perfect" fifths then those are whole steps, right?

Well, I can see the confusion.

In musical theory, a perfect fourth is the interval equal to 5 half-steps, whereas a perfect fifth is the interval equal to 7 half-steps.
That's why we say that the bass guitar is tuned in fourths.

If you'd like to learn more, I suggest you follow TapyTap's advise.
Here's a link that will do the job:
http://www.studybass.com/lessons/intervals/basic-intervals

And, if you ever have the time to study some more, take a look at StudyBass's other lessons.
They certainly helped me as a beginner, and I believe they'll be useful to you too.

 

[brianerwin]

Well, I can see the confusion.

In musical theory, a perfect fourth is the interval equal to 5 half-steps, whereas a perfect fifth is the interval equal to 7 half-steps.
That's why we say that the bass guitar is tuned in fourths.

If you'd like to learn more, I suggest you follow TapyTap's advise.
Here's a link that will do the job:
http://www.studybass.com/lessons/intervals/basic-intervals

And, if you ever have the time to study some more, take a look at StudyBass's other lessons.
They certainly helped me as a beginner, and I believe they'll be useful to you too.

But you look at the "Circle of Fifths" starting at "C" going clockwise you got C - G - D - A - E - B - Gb /F# - Db/C# - Ab/G# - Eb - Bb - F and then back to C.

I believe that the Circle of fifths to be the foundation of music chord progressions.

I have been playing music for more than 30 years. Not bass but Sax. The same rules apply whatever instrument.

Since I posted this about 30 minutes before, I looked at Study Bass, not a lot there. I then checked out Wikipedia, I found out that we all are basically
on the same road just looking at different scenery. Well so to speak.

If we check out the perfect fourth, vs. perfect fifth, I believe that we are talking about chord structures.

We can all agree chords usually in a basic chord goes: 1,3,5,7,9.
A "C" chord is C,E,G,B, & D.
I believe that if we follow Half step intervals we would get the seven Half Steps for the Perfect 5th. If we look at a fourth, we get 5 half steps.
But I think if we look at the chord and "proper scale" we would find a different story.
lets look at the basic triad 1, 3, 5
A major chord consists of the structure (using C major as my example) C, E, G.
If we look at the basic structure of a scale in any key you get the intervals W W H W W W H
(The W = Whole step
The H = Half step)
C D E F G A B C
w w h w w w h (<= these are intervals between each note)
So therefore a fifth to tonic of C would be G.
If we count the root as 1.
I am not genius but I know we still have to contend with the 12 keys and not so easy key signatures. We also get the luxury of dealing with Major, Minors and Augmented, diminished, and 7th chords. This is what makes music fun.
I hope maybe this will help someone as well.

All this being said, what is the tuning for a 5 string bass in perfect 5th's?

 

[jsbarber]

The issue with Equal Temperament arises because on a string instrument the overtone series contains a variety of pitches beyond the root and its higher octaves. Some of these pitches are very close to the equal temperament scale pitches and some deviate significantly. So, when playing equal temperament dissonance occurs between an equal temperament note played on one string and an overtone of another note played on another string or another instrument. Advanced players in small ensembles will compensate for this, as discussed above, but it needs to be done with care.

Anyone who is interested in this topic might want to read the book "How Equal Temperament Ruined Harmony (and Why You Should Care)".

I had read that Joel Quarrington initially explored 5ths tuning to get additional range on a 4-string, but ultimately found the tonal qualities of a 5ths tuned DB to be what he valued most in that tuning. It is interesting to hear, per Eric Cioe above, that the same effect is present in a bass guitar.

Jim

 

[khutch]

All this being said, what is the tuning for a 5 string bass in perfect 5th's?

First of all, if you have a fretted bass I don't think there is any advantage to tuning in perfect fifths the string players tune. Your frets are at the even tempered positions and you want to tune the open strings to even tempered values too, otherwise you don't know what you have when you fret a note. If you can play with the skill of a decent string player then you could tune your fretless in perfect fifths if you wanted to. That being said I don't know if you are really talking about tuning in perfect fifths or if you were just using the term loosely.

A fifth is not really a fixed interval in terms of half steps. If you start from some note, any note, the fifth above is up seven half steps but the fifth below is down only five half steps. A fourth behaves in the complimentary fashion. To go up a fourth you go up five half steps but to go down a fourth you go down seven half steps. Fourths and fifths (and other intervals) are based on the major/minor scale starting on whichever note you want to use as a starting point. The thing is the circle of fifths is also the circle of fourths if you go around the circle backwards.

If you proceed forwards around the circle of fifths starting on F it runs F C G D A E B Gb Db Ab Eb Bb. So if you want to tune your bass in fifths start on any note and proceed through that list from left to right (looping back to F if you run off the end) until you have assigned a note to every string. Some common tunings are the cello/viola tuning CGDA and the violin tuning GDAE but E B Gb Db is also a fifths tuning.

If you proceed backwards around the circle of fifths starting on Bb it runs Bb Eb Ab Db Gb B E A D G C F. And you can build fourths tunings the same way as noted above. The traditional bass tuning is EADG of course but BEAD, DGCF, and C F Bb Eb are also fourths tunings.

You can convert any fourths tuning to a fifths tuning and vice versa simply by reading it backwards EADG becomes GDAE. Or going the other way CGDA becomes ADGC. So you can pick any fifths tuning you like just as you can pick any fourths tuning. I've been using CGDA and CGDAE on my four and five string basses. I find that C is as low as I really need to go and the use of the cello tuning makes playing cello music very natural. I tried GDAE for a while and I liked the higher voice for some work, chording mostly, but that led to getting a five string to have both tunings at once. I've thought about getting a bass VI and I've thought of tuning that CGDAEB, FCGDAE, or GDAEBGb. Basically you can start on any note you like and work from there just as with fourths.

Ken

 

[brianerwin]

First of all, if you have a fretted bass I don't think there is any advantage to tuning in perfect fifths the string players tune.

I can't seen to find a reason to retune my bass at this time.

Your frets are at the even tempered positions and you want to tune the open strings to even tempered values too, otherwise you don't know what you have when you fret a note.

We talk about temperaments here but that applies to the way sounds and notes mix and mingle together and I don't think it applies to tuning. Yes it is important in music if you want an ethereal sound for say a suspense thriller soundtrack where you want that perfect sound for to set the mood.

If you can play with the skill of a decent string player then you could tune your fretless in perfect fifths if you wanted to. That being said I don't know if you are really talking about tuning in perfect fifths or if you were just using the term loosely.

I am using the term as loosely as "temperament"

A fifth is not really a fixed interval in terms of half steps. If you start from some note, any note, the fifth above is up seven half steps but the fifth below is down only five half steps. A fourth behaves in the complimentary fashion. To go up a fourth you go up five half steps but to go down a fourth you go down seven half steps. Fourths and fifths (and other intervals) are based on the major/minor scale starting on whichever note you want to use as a starting point. The thing is the circle of fifths is also the circle of fourths if you go around the circle backwards.

This is a very good point and is correct.

If you proceed forwards around the circle of fifths starting on F it runs F C G D A E B Gb Db Ab Eb Bb. So if you want to tune your bass in fifths start on any note and proceed through that list from left to right (looping back to F if you run off the end) until you have assigned a note to every string. Some common tunings are the cello/viola tuning CGDA and the violin tuning GDAE but E B Gb Db is also a fifths tuning.

If you proceed backwards around the circle of fifths starting on Bb it runs Bb Eb Ab Db Gb B E A D G C F. And you can build fourths tunings the same way as noted above. The traditional bass tuning is EADG of course but BEAD, DGCF, and C F Bb Eb are also fourths tunings.

You can convert any fourths tuning to a fifths tuning and vice versa simply by reading it backwards EADG becomes GDAE. Or going the other way CGDA becomes ADGC. So you can pick any fifths tuning you like just as you can pick any fourths tuning. I've been using CGDA and CGDAE on my four and five string basses. I find that C is as low as I really need to go and the use of the cello tuning makes playing cello music very natural. I tried GDAE for a while and I liked the higher voice for some work, chording mostly, but that led to getting a five string to have both tunings at once. I've thought about getting a bass VI and I've thought of tuning that CGDAEB, FCGDAE, or GDAEBGb. Basically you can start on any note you like and work from there just as with fourths.

Ken

I do have a 5 string bass and enjoy playing it.
I have it tuned to standard tuning BEADG and everything feels comfortable.