Non-standard open or altered tunings crop up frequently in blues, folk and country music. One reason for this is that they can greatly facilitate slide playing.
But another is that unusual chord voicings and inversions, which would be impossible in regular tuning, can be played relatively easily – depending on the tuning, of course. This does come at the expense of regular chords and scale patterns, but the whole point here is to get into some fresh territory.
I’ve chosen open C (low to high: CGCGCE) for the example piece, inspired by Jimmy Page, who uses this tuning on the Zeppelin track Poor Tom. Honourable mention should also go to Justin Hayward, who used this tuning on a 12-string acoustic for The Moody Blues’ Question where he gives Pete Townshend a run for his money concerning rhythm guitar chops!
Compared with some of the more widely used alternative tunings such as DADGAD and open G, open C gives a wide range, with the low E detuned by three whole tones (extra-light strings may not be the best choice for this) and the high E staying at its usual pitch.
Jimmy Page uses a similar (C6) tuning for the tracks Bron‑Yr-Aur and Friends, the difference being that he leaves the fifth string at standard pitch, giving (low to high) CACGCE.
I’ve tried to incorporate lots of useful chord shapes in the example piece to give you a good ‘vocabulary’ to have a play around with. Finally, don’t forget that you’re free to experiment by raising or lowering the pitch of individual strings to create your own custom tunings as Nick Drake would do.
Just be aware that you’ll get through more strings and you may need to carry a few more guitars around with you on tour…
Watch On
Example 1
We begin with a rake across the open strings, then add in a series of hammer-ons and pull-offs, leaving as many strings ringing as possible.
Leaving notes to ring wherever possible (particularly open strings) is a theme throughout the piece, helping to smooth transitions between melody and chords. Bars 1 to 2 and 5 to 6 are a good example of letting the ringing open strings ‘fill in’ behind the melody notes.
The strumming rhythms can be varied at will. In fact, it’s better to approach them this way. Attempting to duplicate the same parts every time could end up sounding a bit too regimented.
Open strings mixed with high fretted notes are a feature much of the time, leading to some quite unusual and complex-sounding chord names. Try not to let these put you off, though – these are simply names for sounds after all.
Elsewhere, bars 9 to 10 are treated as a harmonised melody, rather than a chord progression. The final four bars momentarily venture away from open strings. And don’t forget to slow down (marked ‘ral’) at bars 19 to 20. Remember that this isn’t a classical piece, so feel free to take liberties and vary the themes!
Hear it here
Led Zeppelin – Led Zeppelin III
Watch On
Zeppelin often featured acoustic guitars, but never more so than on their third album from 1970, considered rather a departure for them at the time.
A couple of alternative tunings are in evidence: the altered open C (or C6 tuning, low to high: CACGCE) on Friends, and open G (low to high: DGDGBD) on That’s The Way. Two of the previously cited pieces, Bron‑Yr-Aur and Poor Tom, don’t feature on this album, but they were recorded during the same sessions in 1970.
The Moody Blues – Question
The frequently underestimated Justin Hayward provides some memorable acoustic and electric playing on this compilation, taken from The Moody Blues’ first seven albums.
Question features the open C tuning used for the example piece but is played on a 12-string acoustic, and Never Comes The Day uses open G.
Finally, check out the playing on The Story In Your Eyes – this is standard tuning, but it’s a real eye-opener for those unaware of Justin Hayward’s guitar talents.
Nick Drake – Pink Moon
Though he used many open/altered tunings through his career, Nick frequently returned to a version of open C but with the third string tuned down a tone to F, giving (low to high) CGCFCE.
Combined with occasional use of a capo, you’ll hear this tuning in action on the title track, plus Parasite (which surely influenced Radiohead’s Subterranean Homesick Alien…) and Which Will. Strictly speaking, the latter appears a semitone lower, but the relative intervals are the same.
