While many songwriters use the piano as their main instrument, I’d venture to say that, especially for performing singer-songwriters, the acoustic guitar is often front and center. If you’ve been writing for a while, you might long to break out of the same-old-same-old chords you use all the time — and that’s where alternate tunings can really be a great next step. Many of your favorite songwriters were — and are — alternate tuning mavens, from Joni Mitchell and Nick Drake to Ani DiFranco and Bob Dylan, and many of the sounds and tones you love arise from the voicings available through tunings such as DADGAD, open D and open G.
Personally, while I’ve started songs with alternate tunings several times, I’ve never finished one. But I remain enamoured of the idea of it — and will continue trying. One inspiration is my friend, songwriter Denise Jordan Finley, who also teaches workshops on alternate guitar tunings — she’s amazing! One of her “things” is getting students to “make up” their own alternate tuning chord shapes, not necessarily to use traditional alternate tunings. It can be hard to allow yourself to “fly blind” with new chord shapes that don’t even have a name (and are harder to visualize than if you did the same thing on the piano), but she inspires everyone she teaches to give it a try! I chatted with Denise about how songwriters can get started in the world of non-standard guitar tunings:
Q: Why should songwriters consider alternate tunings?
A: Because it helps to break out of the box… as songwriters, the last thing we want to do is to write songs that sound just like everybody else’s songs… and WORSE, to write song after song ourselves that ALL sound the same! alternate tunings give you a fresh look for ways to support a melody you may have in your head already, OR the interesting chords you get with alternate tunings will offer inspiration for writing beautiful melodies. an easy way to test this, is to sing the melody of a simple folk song and instead of using the obvious chord progressions as accompaniment, use alternate tunings to add extra resonance to your chords through doubling pitches, or extra spice with pitches the alternate tunings will add to a simple chord.
Q: What are the biggest challenges songwriters face when trying to use alternate guitar tunings?
A: When i give workshops in alternate tunings for songwriters, the biggest issue seems to be that the new chords will be forgotten. Using a simple blank chord chart to take a ’snapshot’ of each new chord can help keep the chords under control for folks who are used to standard chord positions. Also, people are concerned about what to name the new chords they will create. It needn’t be a problem, at least in the early stages of creating a song. you can name the chords anything you want. A child student of mine liked to name the chords after his friends! All chords you play ARE ‘real’ chords, and you may later analyse your special chords, which often, amazingly have very important, complicated names! Another obstacle i have found is that people are inclined to drift back to orthodox chord progressions because they feel safer that way. All innovative ideas must be exercised and used often for the player to be comfortable. A good tuner, and practice in de-tuning and re-tuning the instrument between songs, can take some of the scariness out of new positions and voicings. For me, the uniqueness of my writing, and the excitement I experience while listening to my creations, are inspiration enough to keep me interested in working with new tunings.
Q: What is the best way to get started with an alternate guitar tuning?
A: The best way to start is to choose one string, and to tune it (usually down, to avoid string stress and breakage,) to a pitch not more than a whole step away from the original standard pitch for that string. it is easy to relate to one altered string, and relatively easy to move to and from standard that way. The tuning people seem to be the most comfortable with is “drop D,” which is to change the bass string from “E” down a full step to “D.” This tuning sounds GREAT if you like to play in the key of D, and adjusting the shape of the usual chords in this key is easily understood and maneuvered. after that obstacle is overcome, players can enjoy inventing new chord shapes by trial and error. Just putting one finger down on one string in at alternate tuning can produce astounding harmonic results!
Q: What do you love most about using alternate tunings?
A: Without hesitation, I would have to say that the thing I love most is how easy it is to get wonderful sounds with one or two fingers. I started playing this way back when i was 14, with my first guitar, when my weak, tiny hands could not yet play in standard tuning what I wanted to hear. You can construct a tuning that allows you to play a lead on one or two strings, while the other strings drone to accompany the lead. In effect, it is like playing a sitar, or a harp guitar. You can play lead and rhythm guitar at the same time once you get the hang of it!
Q: How do you handle the challenges of re-tuning your guitar during performances?
A: Ha! that is the question! I never use more than one guitar in performance, yet i will often play a set with maybe seven different tuning effects! I try to plan a set with songs that go one to the other with no more than one adjustment to a string at a time. I may start with a song in standard tuning and go to a ‘drop D’ tuning for the next song, then to a ‘drop D – drop d” tuning (meaning that i will also tune down the high ‘e’ string to ‘d’) while leaving the bass string down… and so forth. Some of my altered tunings may have as many as all six strings de-tuned in varying degress. I can also start with many strings tuned down, and tighten strings as I approach the end of the set as well… that depends on the way my songs follow one and other in terms of mood, key, style and subject matter. Beginners need a really accurate tuner at first, as well as a complete set of strings in the guitar case nearby! Eventually, experienced players tune best by ear.
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{ 3 comments… read them below or add one }
The weak tiny hands played just great !
This interview was neat…more like a visit with DJF !
EXCELLENT article by a fine writer about a beautiful person who is also a great teacher and talented singer/songwriter.
EXCELLENT. Can’t wait to put these tips in action