1

Alternate
Tuning
Guide
by

Bill Sethares

New tunings inspire new musical thoughts. Belew is talented... But playing in alternate
Alternate tunings let you play voicings and slide tunings is impossible on stage, retuning is a
between chord forms that would normally be nightmare... strings break, wiggle and bend out
impossible. They give access to nonstandard of tune, necks warp. And the alternative - carry-
open strings. Playing familiar fingerings on an ing around five special guitars for five special
unfamiliar fretboard is exciting - you never know tuning tunes - is a hassle. Back to EBGDAE.
exactly what to expect. And working out familiar But all these "practical" reasons pale com-
riffs on an unfamiliar fretboard often suggests pared to psychological inertia. "I've spent years
new sound patterns and variations. This book mastering one tuning, why should I try others?"
helps you explore alternative ways of making Because there are musical worlds waiting to be
music. exploited. Once you have retuned and explored a
Why is the standard guitar tuning standard? single alternate tuning, you'll be hooked by the
Where did this strange combination of a major unexpected fingerings, the easy drone strings,
3rd and four perfect 4ths come from? There is a the "new" open chords. New tunings are a way to
bit of history (view the guitar as a descendant of recapture the wonder you experienced when first
the lute), a bit of technology (strings which are finding your way around the fretboard - but now
too high and thin tend to break, those which are you can become proficient in a matter of days
too low tend to be too soft), and a bit of chance. rather than years!
Nevertheless, a standard is a standard, and nearly And the ‘practical’ reasons are becoming
everyone who plays knows EBGDAE. It’s only less convincing with the introduction of MIDI
a few folk musicians who use different tunings, guitar controllers, which do much more than just
and they probably do it because they can’t play allow guitarists to play synthesizers. With the
well enough, right? flick of a button you can change the tuning of all
Er, well, maybe Leo Kottke knows what six strings; no messy out of tune strings, no
he’s doing, and maybe Wm. Ackerman and broken strings, no extra guitars. And the alter-
Michael Hedges are good, and maybe Adrian nate tunings themselves are no longer confined
2

by the mechanics of string widths and neck chords with only one finger!
tensions. How about a tuning with six bass strings? The instrumental tunings are based on the
A tuning that spans six octaves? String configu- tunings of modern and historical instruments
rations that were impossible to manufacture with such as the mandolin (augmented for six string
wood and gut can now be realized with a little play), the charango, the cittern, the oud, and
MIDI magic. numerous others. Players of these instruments
The Alternate Tuning Guide shows you may find the tuning and chord charts useful, but
how to slip your guitar into all the popular guitarists will find some truly wonderful "alter-
alternate tunings, shows you how to finger open nate" ways to tune.
and bar chords, how to play representative scales, In the regular tunings, the strings are tuned
and graphically displays the notes as they appear uniformly up the fretboard. This allows chord
on the fretboard. Each tuning is briefly discussed forms to be moved up and down the fretboard
and its strengths and limitations are examined, like a normal bar chord, and also sideways across
helping you to get the most from your musical the fretboard. Learn a handful of chord forms in
explorations. The Alternate Tuning Guide is a regular tuning, and you'll know hundreds of
divided into four main sections, corresponding chords!
to the four main types of alternate tunings: open, The special tunings are a miscellaneous
instrumental, regular, and "special." collection of tunings most of which were created
In the open tunings, the six strings are tuned and/or popularized in recent years by various
to form a simple chord. This makes it easy to play singers and songwriters.
unusual chordal combinations and interesting Explore these alternate musical universes
tonal clusters by utilizing "drone" and "sus- with the Alternate Tuning Guides friendly chord
tained" strings. Bottleneck slide and harmonics and scale charts. What are you waiting for...
are wonderful in open tunings, because you can retune that guitar now.
play full six string chords. And you can play bar
 3

Alternate
Instrumental Tunings
Tunings Guide Balalaika E A D E E A 36
Charango X G C E A E 38
Cittern (1) C F C G C D 40
Cittern (2) C G C G C G 42
Dobro G B D G B D 44
Lefty E B G D A E 46
Overtone C E G A# C D 48
Pentatonic A C D E G A 50

How to Use the Alternate Tuning Guide Regular Tunings

Standard Guitar EADGBE 4 Minor Third C D# F# A C D# 54

The Circle of Notes 8 Major Third C E G# C E G# 56
Transposing Chords 9 All Fourths E A D G C F 58
An Example in Open G 10 Aug Fourths C F# C F# C F# 60
Combining Chords 11 Mandoguitar C G D A E B 62
Using Octaves 11 Minor Sixth C G# E C G# E 64
The Four Tricks 12 Major Sixth C A F# D# C A 66
The Stuff Chords are Made Of 12
How to Build Chords and Scales 12 Special Tunings
What About Other Tunings? 14
Table of Chord Intervals 13 Admiral C G D G B C 70
Cross Index of Tunings 14 Buzzard C F C G A# F 72
Table of Scale Intervals 15 Drop D D A D G B E 74
Alphabetical List by Tuning 15 Face C G D G A D 76
Four & Twenty D A D D A D 78
Open Tunings Hot Type A B E F# A D 80
Layover D A C G C E 82
Open C C G C G C E 18 Magic Farmer C F C G A E 84
Open D D A D F# A D 20 Pelican D A D E A D 86
Modal D D A D G A D 22 Processional D G D F A A# 88
Open D Minor D A D F A D 24 Slow Motion D G D F C D 90
Open G D G D G B D 26 Spirit C# A C# G# A E 92
Modal G D G D G C D 28 Tarboulton C A# C F A# F 94
Open G Minor D G D G A# D 30 Toulouse E C D F A D 96
Open A E A C# E A E 32 Triqueen D G D F# A B 98
4 Type of Tuning

The
Standard
Tuning
This page is intended to orient you to the
presentation in the rest of the book. First, (down
below) you see how the notes are laid out on the
fretboard. The musical staff on the right shows
how the strings are tuned. Corresponding MIDI
note numbers are shown for those using a MIDI
guitar controller. "Retune" shows how many half
steps each step needs to be retuned from the
standard tuning, and "fret" tells what fret to
place your finger on in order to align the sounds
- thus you place your finger on the 5th fret of the
6th string in order to make the two sound the
same note. In other words, this shows how to
tune the guitar.
Then there are some small fretboards that
show how to finger a few simple scales, and
finally, a full page is devoted to cool chords that
you can easily play in the tuning. Of course, you
already know all this - for the standard tuning -
but what about for other tunings?
Read on...
Standard Tuning 5
6 How to use the Alternate Tuning Guide

retune your axe.

Name of Tuning Those who can read music can read the
notes directly from the musical staves and tune to
The familiar EADGBE tuning is called the whatever other instrument is at hand.
Standard tuning. Some tunings are named for the If a piano or other keyboard is nearby, the
chord that is sounded when the open strings are note names can be used to tune the strings using
played (Open G, D Minor). Some are named the following correspondance between keys of
from an instrument that tunes in that same way the piano and notes.
(charango, dobro, cittern). Some are named for
the structural relationship among the strings (the
All Fourths, Minor Sixth). Others are named
after a song which uses the tuning (Admiral,
Four and Twenty). Everything needs a name.

Type of Tuning The row labelled “Retune” shows how far

each string must be changed from the standard
The tunings are divided into sections by the tuning. A zero means that the string is the same
way the strings are organized: as in Standard. Plus numbers indicate that the
** In the open tunings, the open strings are tuned string must be tuned up while negative numbers
to form a simple chord. mean the string must be tuned down.
** In the instrumental tunings, the strings are
tuned to imitate an instrument. The “Fret” row tells where to fret in order to
** In the regular tunings, the strings ascend match the tone of the next string up. For example,
uniformly from low to high. in Standard tuning you first fix the low E. Then,
** The special tunings are all those that don’t fit placing your finger at the 5th fret of the sixth
into the above categories. string gives the note for the open 5th string.
Similarly,
Comments ** Press fret 5 of the 5th string to get the note for
the 4th string.
Often there are peculiarities or special fea- ** Press fret 5 of the 4th string to get the note for
tures of the tuning that deserve comment. Each the 3rd string.
tuning is different, each sounds unique, and each ** Press fret 4 of the 3rd string to get the note for
has its own feel. the 2nd string.
** Press fret 5 of the 2nd string to get the note for
Tuning and Retuning Instructions the 1st string.
And you’re done.
The major stumbling block for most guitar
players (in terms of using alternate tunings) is the Other tunings use different frets, but the
initial reluctance to retune the guitar. Remember procedure is identical. To get into the Open G
how hard it was to tune to the Standard tuning tuning, for instance, note that the “Fret” row
when you first started playing? Well... there’s reads 5 7 5 4 3. First, fix the low string at a D.
good news. It's actually easier to tune to many of Then,
the alternate tunings (especially the open tunings) ** Press fret 5 of the 6th string to get the note for
than to tune to the Standard. the 5th string.
The tuning information is all you need to ** Press fret 7 of the 5th string to get the note for
 7

the 4th string. Thus the G major scale

** Press fret 5 of the 4th string to get the note for
the 3rd string.
** Press fret 4 of the 3rd string to get the note for
the 2nd string.
** Press fret 3 of the 2nd string to get the note for
the 1st string.
Voila!
becomes the A major scale
If you are using a MIDI guitar controller,
then you will need to reassign the output of the
controller or the input of the sound module,
depending on your equipment. The MIDI note
numbers are given for each string so that you can
easily reprogram the controller or sound module.
The details of the procedure vary depending on
the manufacturer, so you will need to refer to Chord Charts
your owners manual (shudder).
If you are using a pitch to MIDI converter, The second page of each tuning contains
you have two options. One is to retune the strings about 30 chords. These chords were chosen to
as described above. The other option is to leave give a balance between open position and bar
the controller in Standard tuning and to retune chords, between major, minor, and 7th chords,
the sound module. The advantage of retuning the and to emphasize the strengths of the tuning.
strings is that you can still mix the guitar sound The numbers on the tiny fretboards indicate
with the synthesized sound. The advantage of a suggested fingering for the chord where
retuning electronically is that you can switch 1 - first finger
between tunings instantly with a patch or pro- 2 - second finger
gram change command to your sound module. 3 - ring finger
4 - pinky
The Fretboard Small circles above the fretboard indicate that
the string can be played open (unfretted).
The note names appear differently on the You should always play chords in the most
fretboard depending on how the guitar is tuned. comfortable way. Since everyones hands are
The stylized fretboard is handy when you wish to different, and everyones experience differs, feel
pick out particular notes (for a melody line, free to either use or ignore the suggested finger-
perhaps) or when you wish to make up your own ings. Even the experts can’t always agree. The
chords and scales. “A” type bar chord, for instance, is fingered in
different ways in different books.
Scales

A few scales are given for each tuning. The

darkened circles are the roots (starting notes) of
the scale. Scales can be transposed just like
chords. For instance, to play an A major scale in
the Open G tuning, shift the whole pattern of the
G major scale up two steps.
8 How to use the Alternate Tuning Guide

Some chords have a number to the right of

the fretboard, indicating that the chord should be
placed up the fretboard at this fret. Thus the A
minor 7 chord from the Open G tuning chart is
fingered as shown.

The circle of notes describes the order of

notes on the fretboard of the guitar. For example,
The next sections show how to easily transform
these 30 chord forms into a nearly unlimited the A string (string 5) begins with an A note.
number of useful chords using four simple musi- Playing up one fret moves the A to an A# (move
clockwise around the circle).
cal tricks.

The Circle of Notes

A surprising number of useful insights about

the musical universe are displayed in the circle of
notes, which is like a clock face in which the
hours of the day are replaced by the note names

C C# D D# E F F# G G# A A# B Up another fret is a B. Up one more is a C.

(pronounce C# as Sea sharp). These names are

arbitrary. Any set of symbols would do - twelve
numbers, twelve geometric figures, twelve
months, twelve apostles, the twelve signs of the
zodiac. For sanities sake, we stick with the tradi-
tional names. But beware; tradition gives some
notes two names
C# is also called Db
D# is also called Eb
F# is also called Gb
G# is also called Ab
A# is also called Bb
 9

Transposing Chords
around and around the circle of notes, until you
The circle of notes works for chords as well. run out of frets.
Play an A minor chord in open position

After the twelfth fret, the chords start repeating,

Moving all the notes up one fret should give an
since the circle of notes is only twelve notes long.
A# minor chord
Subchords

Often, you can remove notes from a chord

form to make it play easier, sound different, or
even sound better. For example, the B minor
chord above contains all the notes of the B minor
chord that beginners learn
Oops... it sounds terrible. What went wrong? We
forgot about the two open strings. In order to
move all the strings (including the open strings)
up, use the first finger like the nut (the notched
bar at the end of the fretboard). Thus it’s actually
played as a bar chord with the first finger stretched
across the fretboard.

Thus the notes of the simplified B minor chord

are a subset of the notes of this barred chord, and
the simplified version is called a subchord. The
B minor also contains other subchords that you
may have noticed

Now it’s smooth playing. Up another fret is a B

minor. Up another is a C minor.

In a very real way, all of these chords “come

from” or “grow out of” a single chord form, the
open position A minor. Similarly, other chord
This pattern continues all the way up the fretboard, forms lead to whole families of playable chords
10 How to use the Alternate Tuning Guide

via transposition (following the circle of notes)

and the process of finding subchords (withhold-
ing certain tones from a chord). The most impor-
tant things to remember when using chord charts
to play in alternate tunings is that each chord in
the chart represents a whole family of related
chords.

An Example in Open G Tuning

Starting at C, A is 3 steps counterclockwise and
To see how these ideas work in an unfamil- 9 steps clockwise. Thus A will be either 3 frets
iar setting, and to get you started playing in down from C or nine frets up from C, or both.
alternate tunings, retune to the Open G tuning Since it’s impossible to move the chord down,
(DGDGBD) by lowering the first, fifth and sixth move it up nine frets to the A major chord
strings two steps apiece. Notice that strings 1 and
6 are tuned to octaves of the 4th string. Tune them
down until they sound right. Similarly, string 5
needs to go down until it matches the 3rd string.
It really is quite painless, and when you’re done,
strumming all six open strings sounds a beautiful
G major chord. If you have problems retuning,
check out the section on retuning again. Just as in the earlier example in standard
Ready? Suppose you want to play a song tuning which used the open position A minor
that uses the chords G, D, and A major. In the chord to find B minor chords, the open strings
chord chart there are three different G majors must be moved into bar chord form and the other
(more on this later) and one D. But no A! fingers must readjust to maintain the finger pat-
Let’s find some A major chords. First, take tern.
stock of the chordal resources. There are G, C, Starting at D, A is 5 steps counterclockwise
and D major chords shown, and 7 steps clockwise, indicating that the open
position D chord must be moved either down 5 or
up 7 frets. Since it is again impossible to move
down, move up.

which suggests that we should be able to find at

least three different A major chords by transpo-
sition. The circle of notes shows that A is two But wait... I don’t have that many fingers!
steps clockwise from G. Consequently, an A The open D major chord already uses all four
chord should be two frets higher than G. fingers. If we try to bar with the first finger and
to play the complete chord, then we run out of
fingers. Thus there is no way to play a full six
string A major chord at the 7th fret. But we can
 11

look for suitable subchords. Here are a few three open position G major chords are shown
possibilities.

Which sounds best? It depends on the musical

context. Are you finger picking or strumming? These can be combined to form several other
Playing electric or acoustic? Is your tone dis- open position G major chords
torted or clean?
This procedure of finding desirable chords
by transposing and using subchords is funda-
mental to making effective use of chord charts.

Combining Chords

Another trick that helps find alternate ways

to finger chords is to combine two (or more)
chords. For instance, an A major chord in the
standard tuning can be played in either of the
following ways

Nice, eh?

Using Octaves

Another general trick for finding chords

exploits strings which are tuned alike. In the
Any note in either of the chords is fair game for Standard tuning, there are two E strings (the
an A major chord. Thus two alternate A’s are highest and lowest strings). If a chord is fingered
on some fret on one of these strings, then it can
also be fingered on that same fret of the other
string. For instance, many of the B minor chords
use the second fret of the high E string. These can
be optionally fingered using the low E string at
the second fret. A few possibilities are...

both of which combine some notes from each of

the two original A’s. Sometimes this kind of
combination procedure works spectacularly.
Returning to the Open G tuning, note that
12 How to use the Alternate Tuning Guide

This octave trick is only marginlly useful in The Stuff Chords Are Made Of
Standard tuning because only two strings are
tuned alike. In many alternate tunings, however, What is a chord?
more strings are tuned alike, leading to numerous Despite all the music theoretic hype, there is
useful and exciting chords. nothing fundamental, natural, or obvious about
In the Open G tuning, for instance, there are chords. Rather, each chord type (major, minor,
three D strings and two G strings. The open 7th, etc.), is defined to contain a certain collec-
position D major chord uses the first string at the tion of intervals. These definitions are arbitrary,
4th fret while the fourth and sixth strings are but are deeply engrained by history and tradition.
played open. Since strings 1, 4, and 6 are all tuned The accompanying Table of Chord Intervals lists
to D, any of them can be fingered at the fourth fret most of the common chord types and the inter-
or played open. Two possibilities are vals that they contain. For example, the table
shows that a major chord contains the intervals 0,
4, and 7. A D major chord contains the notes D
(the zero), F# (which is 7 steps clockwise from D
around the circle of notes), and A (which is 7
steps from D). Similarly, an F7th chord contains
F, A, C, and D#.
Another example is the D7sus4 chord, whose G
strings can be fingered either open or at the Warning: Normally these would be written F, A,
second fret C, and Eb (recall D#=Eb), but the reasons are
deeply embedded in music theory, and need not
concern us if all we want to do is build and use
chords.

Like chords, scales are defined to be collec-

tions of intervals. The Table of Scale Intervals
lists several common scales. For example, a
major scale contains the intervals 0,2,4,5,7,9,and
The Four Tricks
11. An F major scale consists of the notes F, G (2
steps clockwise from F), A (4 steps), A# (5
The four techniques to discovering large steps), C (7 steps), D (9 steps), and E (11 steps).
families of chord fingerings are: Consequently, with these tables and a little ef-
fort, you can build any chord or scale in any
** transpose chords using the circle of notes tuning.
** find and exploit subchords
** combine chords to create new chord forms
How to Build Chords and Scales
** exploit octaves and multiple strings.
To see how this procedure works, let’s
These techniques, applied judiciously, allow you
build an E7 chord in open position in the Open G
to play almost any chord in almost any tuning
tuning (DGDGBD). The first step is to draw the
given a few seed chords to start with. The pur-
fretboard. Each string starts with the appropriate
pose of this alternate tuning guide is to provide
note name (string 6 = D, string 5 = G, etc.). As the
these seeds.
frets climb the fretboard, the note names move
around the circle of notes. Thus the lower portion
 13

of the Open G fretboard is

Table of Chord Intervals

Name Abbreviation Intervals

Major maj 0, 4, 7
Minor min 0, 3, 7
Major Seventh maj7 0, 4, 7, 11
Dominant Seventh 7th 0, 4, 7, 10
Minor Seventh min7 0, 3, 7, 10
Major Sixth 6 0, 4, 7, 9
Major Ninth maj9 0, 4, 7, 11, 14
Dominant Ninth 9 0, 4, 7, 10, 14
Sixth add Ninth 6+9 0, 4, 7, 9, 14
The second step is to identify the notes that make Minor Sixth min6 0, 3, 7, 9
up the E7 chord. The table of intervals for the 7th Minor Ninth min9 0, 3, 7, 10, 14
chord reads 0, 4, 7, 10. Starting at E=0, count Minor 7 Flat Five m7b5 0, 3, 6, 10
around the circle of notes to G#=4, B=7 and Seven Flat Nine 7b9 0, 4, 7, 10, 13
D=10. Next, highlight or circle the notes E, G#, Seven Sharp Nine 7#9 0, 4, 7, 10, 15
B, D on the fretboard. Diminished dim 0, 3, 6
Diminished Seventh dim7 0, 3, 6, 9
Augmented aug 0, 4, 8
Augmented Seventh aug7 0, 4, 8, 10
Suspended Fourth sus4 0, 5, 7
7 Suspended Fourth 7sus4 0, 5, 7, 10
Suspended Second sus2 0, 2, 7

Scales are built exactly the same way. For

example, the notes in an E major scale can be
determined readily from the scale table as E=0,
F#=2, G#=4, A=5, B=7, C#=9, and D#=11. High-
By choosing various subsets of the notes, numer- lighting these notes on the Open G fretboard
ous E7 chords can be found. Here are a few gives the E major scale
possibilities.
14 How to use the Alternate Tuning Guide

Of course, it’s a lot of effort to build chord What About Other Tunings?
and scale charts yourself. That’s why we’ve
made this book - so that you don’t need to go As of this edition, the Complete Guide to
through this procedure for every chord and every Alternate Tunings contains chord, scale and
scale in every tuning. tuning charts for 38 alternate tunings. If you
In fact, turn to the Open G tuning chord encounter a new tuning, it is not uncommon for
chart, and notice the G7th chord. Does this finger it to be equivalent to one of the 38. For instance,
pattern look familiar? Rather than building the suppose you wish to play in the tuning that Leo
E7, we could have simply transposed the G7th Kottke uses for his song Louise, which is B F#
down 3 frets (since E is 3 steps below G in the B E G# C#.
circle of notes), giving the first of the E7 possi- The first place to look is in the Cross Index
bilities. I guess this is what chord charts are for. of Tunings, which lists the tunings in this book.
Observe that the Louise tuning is the same as the
Drop D tuning transposed down 3 steps. This
means that all the chords in the Drop D chart can
be used in the Louise tuning, except that the
names must be transposed 3 steps counterclock-
wise down the circle of notes. Thus the F major
becomes a D major, the C minor 6 becomes an
A minor 6, etc.

Cross Index of Tunings

A Tuning E A E A C# E Open G transposed up 2

B Tuning B F# B D# F# B Open D transposed down 3
Barbara’s C# G# C# G# C# E Open C transposed up 1
Bluebird D A D G B D Open G with string 5 raised 2
C Tuning C G C E G D Open D transposed down 2
E Tuning E B E G# B E Open D transposed up 2
Gazos D A D F# A C# Open D with string 1 lowered 1
Guinevere E A D G B D Standard with string 1 lowered 2
Judy Blue Eyes E B E E B E Four and Twenty transposed up 2
It Takes D G D G A D Open G minor with string 2 lowered 1
or Modal D with string 5 lowered 2
Louise B F# B E G# C# Drop D transposed down 3
Never C G D G B E strings 1-4 same as Standard
strings 2-5 same as Open G
strings 3-6 same as Admiral
Silent Night D A D F# B E Drop D with string 3 lowered 1
Tortion E A E G B E Open D minor transposed up 2
with string 5 lowered 2
Unexpected D A D G C E Drop D with string 2 raised 1
Windham Mary F G# C D# G# D# Open A transposed down 1
with string 6 raised 2
 15

But what if the tuning is not in the cross Alphabetical List by Tuning
index, or if it is listed under a different name?
Then try the Alphabetical List by Tuning, in All tunings transposed so that string 6 is a C.
which all the tunings are “normalized” so that the R=Regular, I=Instrumental, O=Open, S=Special
lowest string is tuned to a C note. To normalize
the Louise tuning, the B must be raised one step C A F# D# C A Major Sixth 0 R
to a C, the F# raised one step becomes a G, C A# C F A# F Tarboulton 0 S
leading to the normalized Louise tuning C D C E G C Open D 0 O
CGCFAD. Looking up CGCFAD alphabetically C D G A C F Hot Type -2 S
in the list shows that this is the same as the Drop C D# F G A# C Pentatonic +3 I
D tuning, down 2. Adding the 2 and the 1 reaf- C D# F# A C D# Minor Third 0 R
firms that Louise is the same as Drop D down 3, C E G A# C D Overtone 0 I
and the Drop D tuning chord chart can be used. C E G C E G Dobro +5 I
Even if you cannot find the tuning exactly, C E G# C E G# Major Third 0 R
usually it will match one of the tunings with the C F A C F C Open A -4 O
exception of (say) a single string. Although more C F A# C C F Balalaika -4 I
of a hassle, you can still use the tuning chart for C F A# D# G C Standard Guitar
this “close” tuning profitably, though all chords C F A# D# G# C# All Fourths -4 R
involving that single string will need to be modi- C F C D# A# C Slow Motion -2 S
fied up or down the appropriate amount. An C F C D# G G# Processional -2 S
example of this procedure is given in the intro- C F C E G A Triqueen -2 S
duction to the section on open tunings. C F C F A C Open G -2 O
C F C F A# C Modal G -2 O
C F C F G# C Open G Minor-2 O
C F C G A E Magic Farmer 0 S
C F C G A# F Buzzard 0 S
C F C G C D Cittern (1) 0 I
C F# C F# C F# Aug Fourths 0 R
C G A# F A# D Layover -2 S
Table of Scale Intervals
C G C C G C Four&Twenty -2 S
C G C D G C Pelican -2 S
Scale Name Intervals C G C D# G C Open D Minor-2 O
C G C F A D Drop D -2 S
Major 0, 2, 4, 5, 7, 9, 11 C G C F G C Modal D -2 O
Minor 0, 2, 3, 5, 7, 8, 10 C G C G C E Open C 0 O
Harmonic Minor 0, 2, 3, 5, 7, 8, 11 C G C G C G Cittern (2) 0 I
Pentatonic Major 0, 2, 4, 7, 9 C G D G A D Face 0 S
Pentatonic Minor 0, 3, 5, 7, 10 C G D G B C Admiral 0 S
C G D A E B Mandoguitar 0 R
C G D# A# F C Lefty -4 I
C G# A# C# F A# Toulouse -4 S
C G# C G G# D# Spirit -1 S
C G# E C G# E Minor Sixth 0 R