One of the magical properties of the guitar is that you do not need to stay in standard tuning. In fact alternate tunings really change how the instrument sounds and reacts to your playing style.

First, let me point out that the guitar is a transposing instrument, it transposes up an octave. That means that guitar music is written an octave higher than it sounds. So, for all us guitarists that are used to playing a middle C (first ledger line below the staff) at the 3rd fret on the 5th string, know that the “real” middle C is 1st fret on the 2nd string (one octave higher). This is particularly important to understand if you try to tune to a piano.

Also note that in the examples below all tunings are given low to high (6th string to 1st string), with non-standard tuned strings in blue.

Okay so let’s start of with standard tuning. Low to high it’s: E A D G B E

This is tried and true. This is the sound that most people associate with a guitar, and where most guitarists start when learning.

One of the first alternate tunings I recommend trying is the “down a half step”, where each string is tuned down one half step, but is still basically standard tuning. This is referred to as Baroque Standard tuning or A415 Tuning, meaning the reference note A is set at 415 Hz, rather than the current accepted reference of 440 Hz.

This isn’t so much an ‘Alternate Tuning” as it is a tuning to a different reference point. In fact, you can start here and then use any of the other alternate tunings for an even deeper and sweeter sound.

Guys like Jimi Hendrix, Stevie Ray Vaughan, Eddie Van Halen (to name a few) used this tuning exclusively. One of the advantages is the lower string tension all around, which sounds great on an acoustic in particular. The only downside to this tuning is when you play with other people tuned to standard pitch. You then have to transpose up a half-step all the time.

Tuning: Eb Ab Db Gb Bb Eb.

How to get there: lower all the strings by a half-step.

Now let’s hit a few favorite alternate tunings.

Dropped D

This is where it all starts, getting that low D in the mix seems to “open up” the guitar. This one is really good for key of D to add a new dimension to the arrangement.

Tuning: D A D G B E

How to get there: Simply lower the low E (6th) string by a whole step from E to D to get to this one.

Double Dropped D

Basically an extension of Dropped D, this takes the high E out of the mix and replaces it with another D. I’m luke warm on this tuning, I don’t think it adds much to the standard Dropped D, and certainly doesn’t achieve the magic of DADGAD (see next tuning). That being said, it’s worth a try. You may have more of a connection to it than I do.

Tuning: D A D G B D

How to get there: Lower the low E (6th) string a whole step from E to D and then lower the high E (1st) string a whole step from E to D.

D Modal or DADGAD

Introspective & deep are the words I use to describe this tuning. Because this tuning basically is a Dsus4 chord, you get a lot of ambiguous chord structures that lend themselves to that airy, thoughtful feel. Used a lot in Celtic music, I love to take a well known song and arrange it in DADGAD for a completely new take on the tune. This is also a great tuning for noodling. It’s so easy to find interesting sounds you almost fall into them. This is easily my favorite alternate tuning.

Tuning: D A D G A D

How to get there: Lower the low E (6th) string a whole step from E to D, lower the B (2nd) string a whole step from B to A and then lower the high E (1st) string a whole step from E to D.

Open D

Open D isn’t just for slide players. This is the logical place to go from DADGAD and offers a more major tonality based tuning. It’s really easy to get a good delta blues sound from here and works well for instrumental pieces. And, like DADGAD, this is great for noodling around. You’re bound to stumble upon something fun.

Tuning: D A D F# A D

How to get there: Lower the low E (6th) string a whole step from E to D, lower the G (third) string a half-step from G to F#,  lower the B (2nd) string a whole step from B to A and then lower the high E (1st) string a whole step from E to D.