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Regular tuning - Wikipedia, the free encyclopedia

Regular tuning
From Wikipedia, the free encyclopedia

Among alternative guitar-tunings, regular tunings have equal musical

intervals between the paired notes of their successive open strings.
Regular tunings help beginning students to learn the fretboard's notes
and chords. Regular tunings also facilitate improvisation by advanced
guitarists.

Regular tunings

Guitar tunings assign pitches to the open strings of guitars. Tunings

can be described by the particular pitches that are denoted by notes in
Western music. By convention, the notes are ordered from lowest to
highest. The standard tuning defines the string pitches as E, A, D, G,
B, and E. Between the open-strings of the standard tuning are three
perfect-fourths (E-A, A-D, D-G), then the major third G-B, and the
fourth perfect-fourth B-E.
For regular guitar-tunings, the distance between consecutive

In contrast, regular tunings have constant intervals between their

successive open-strings:

open-strings is a constant musical-interval, measured by

semitones on the chromatic circle. The chromatic circle lists

4 semi-tones (major third): Major-thirds tuning,

the twelve notes of the octave.

5 semi-tones (perfect fourth): All-fourths tuning,

Basic information

6 semi-tones (augmented fourth, tritone, or diminished fifth):

Aliases

Uniform tunings
All-interval tunings

Augmented-fourths tuning,

Advanced information

7 semi-tones (perfect fifth): All-fifths tuning

Advantages

For the regular tunings, chords may be moved diagonally around the
fretboard, indeed vertically for the repetitive regular tunings (minor
thirds, major thirds, and augmented fourths). Regular tunings thus
appeal to new guitarists and also to jazz-guitarists, whose
improvisation is simplified. On the other hand, some conventional
chords are easier to play in standard tuning than in regular tuning than
in standard tuning.[1] Left-handed guitarists may use the chord charts
from one class of regular tunings for its left-handed tuning; for
example, the chord charts for all-fifths tuning may be used for guitars
strung with left-handed all-fourths tuning.
The class of regular tunings has been named and described by
Professor William Sethares. Sethares's 2001 chapter Regular tunings
(in his revised 2010-2011 Alternate tuning guide) is the leading source
for this article.[1] This article's descriptions of particular regular-tunings
use other sources also.

Simplifies learning by beginners

and improvisation by advanced
guitarists

Disadvantages Makes it difficult to play music

written for standard tuning.
Regular tunings (semitones)
Trivial (0)
Minor thirds (3)
Major thirds (4)
All fourths (5)
Augmented fourths (6)
New standard (7, 3)

All fifths (7)

Minor sixths (8)

Contents

Guitar tunings

1 Standard and alternative guitar-tunings: A review

1.1 Standard
1.2 Alternative
2 Properties
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2.1 Particular conventional-chords are more difficult to

play
2.2 Frets covered by the hand
3 Examples
3.1 Minor thirds
3.2 Major thirds
3.3 All fourths
3.4 Augmented fourths
3.5 All fifths: "Mandoguitar"
3.5.1 New standard tuning
3.6 Extreme intervals
3.6.1 Wide intervals
3.6.2 Narrow intervals
4 Left-handed involution
5 Summary
6 Notes
7 References
8 External links
8.1 Major thirds
8.2 All fourths
8.3 New standard tuning

Standard and alternative guitar-tunings: A review

This summary of standard tuning also introduces the terms for discussing alternative tunings

Standard

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Standard tuning has the following open-string notes:

E-A-d-g-b-e'.
In standard tuning, the separation of the second (b), and third (g) string is by a major-third interval, which has a width of
four semitones.

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Standard tuning open 1st fret (index) 2nd fret (middle) 3rd fret (ring) 4th fret (little)
1st string

e'

f'

f'

g'

a'

2nd string

c'

c'

d'

e'

3rd string

4th string

5th string

6th string

Chromatic note progression

The irregularity has a price. Chords cannot be shifted around the fretboard in the standard tuning E-A-D-G-B-E, which
requires four chord-shapes for the major chords. There are separate chord-forms for chords having their root note on the
third, fourth, fifth, and sixth strings.[2]

Alternative
Alternative ("alternate") tuning refers to any open-string note-arrangement other than standard tuning. Such alternative
tuning arrangements offer different chord voicing and sonorities. Alternative tunings necessarily change the chord shapes
associated with standard tuning, which eases the playing of some non-standard chords at the cost of increasing the
difficulty of some standard chords. Regular tunings benefit from re-stringing of
the guitar with different gauges. In particular, all-fifths tuning has been difficult to
implement on conventional guitars; even an approximation to all-fifths tuning,
new standard tuning, has required special sets of strings.

Properties
With standard tuning, and with all tunings,
chord patterns can be moved twelve frets
down, where the notes repeat in a higher
octave.

In the standard guitar-tuning, one

major-third interval is interjected
amid four perfect-fourth intervals. In
each regular tuning, all string
successions have the same interval.

For the standard tuning, there is exactly

one interval of a third between the second
and third strings, and all the other intervals
are fourths. Working around the irregular
third of standard tuning, guitarists have to
memorize chord-patterns for at least three
regions: The first four strings tuned in
perfect fourths; two or more fourths and
the third; and one or more initial fourths,
the third, and the last fourth.

In contrast, regular tunings have equal intervals between the strings.[1] In contrast,
regular tunings have constant intervals between their successive open-strings. In
fact, the class of each regular tuning is characterized by its musical interval as
shown by the following list:
3 semi-tones (minor third): Minor-thirds tuning,
4 semi-tones (major third): Major-thirds tuning,
5 semi-tones (perfect fourth): All-fourths tuning,
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6 semi-tones (augmented fourth, tritone, or diminished fifth): Augmentedfourths tuning,

7 semi-tones (perfect fifth): All-fifths tuning

In standard tuning, the C-major chord

has three shapes because of the
irregular major-third between the Gand B-strings.

The regular tunings whose number of semi-tones s divides 12 (the number of

notes in the octave) repeat their open-string notes (raised one octave) after 12/s
strings: For example,
having three semi-tones in its interval, minor-thirds tuning repeats its opennotes after four (12/3) strings;
having four semi-tones in its interval, major-thirds tuning repeats its opennotes after three (12/4) strings;
having six semi-tones in its interval, augmented-fourths tuning repeats its
notes after two (12/6) strings.
Regular tunings have symmetrical scales all along the fretboard. This makes it
simpler to translate chords. For the regular tunings, chords may be moved
diagonally around the fretboard.
The shifting of chords is especially simple for the regular tunings that repeat their
open strings, in which case chords can be moved vertically: Chords can be moved
three strings up (or down) in major-thirds tuning,[3] and chords can be moved two
strings up (or down) in augmented-fourths tuning. Regular tunings thus appeal to
new guitarists and also to jazz-guitarists, whose improvisation is simplified by
regular intervals.

Chords can be shifted diagonally in

regular tunings, such as major-thirds
(M3) tuning.

Particular conventional-chords are more difficult to play

On the other hand, particular chords are more difficult to play in a regular tuning
than in standard tuning. It can be difficult to play conventional chords especially
in augmented-fourths tuning and all-fifths tuning,[1] in which the wide (tritone and
perfect-fifth) intervals require hand stretching. Some chords, which are
conventional in folk music, are difficult to play even in all-fourths and majorthirds tunings, which do not require more hand-stretching than standard tuning.[4]
On the other hand, minor-thirds tuning features many barre chords with repeated
notes,[5] properties that appeal to acoustic guitarists and to beginners.

Frets covered by the hand

The chromatic scale climbs from one string to the next after a number of frets that
is specific to each regular tuning. The chromatic scale climbs after exactly four
In regular tunings like M3 tuning,
frets in major-thirds tuning, so reducing the extensions of the little and index
chords maintain the same shape,
fingers ("hand stretching").[6] For other regular tunings, the successive strings
unlike the chords of standard tuning.
have intervals that are minor thirds, perfect fourths, augmented fourths, or
perfect fifths; thus, the fretting hand covers three, five, six, or seven frets
respectively to play a chromatic scale. (Of course, the highest chromatic-scale uses the open strings and so requires one
less fret to be covered.)

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The fretboard of major-thirds tuning

is segmented into four-fret intervals,
which simplifies its learning and also
reduces the need for shifting the left
hand.

Examples
The following regular-tunings are discussed by Sethares, who also mentions other
regular tunings that are difficult to play or have little musical interest.

Minor thirds
C-E-G-a-c-e,[7][8] or
B-D-F-A-b-d[9]
In each minor-thirds (m3) tuning, every interval between successive strings is a
minor third. Thus each repeats its open-notes after four strings. In the minor-thirds
tuning beginning with C, the open strings contain the notes (c, e, g) of the
diminished C triad.[7]

Every minor-thirds tuning repeats its

open notes after four strings.

Minor-thirds tuning features many barre chords with repeated notes,[5] properties
that appeal to acoustic guitarists and to beginners. Doubled notes have different
sounds because of differing "string widths, tensions and tunings, and [they] reinforce each other, like the doubled strings
of a twelve string guitar add chorusing and depth," according to William Sethares.[7]

Major thirds

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Major-thirds tuning is a regular tuning in which the musical intervals between successive strings are each major
thirds.[11][12] Like minor-thirds tuning (and unlike all-fourths and all-fifths tuning), major-thirds tuning is a repetitive
tuning; it repeats its octave after three strings, which again simplifies the learning of chords and improvisation;[13]
similarly, minor-thirds tuning repeats itself after four strings while augmented-fourths tuning repeats itself after two
strings.
Neighboring the standard tuning is the all-thirds tuning that has the open strings
E-G-B-e-g-b'(or F-A-C-f-a-c').[4]
With six strings, major-thirds tuning has a smaller range than standard tuning;
with seven strings, the major-thirds tuning covers the range of standard tuning on
six strings.[11][12] With the repetition of three open-string notes, each major-thirds
tuning provides the guitarist with many options for fingering chords. Indeed, the
fingering of two successive frets suffices to play pure major and minor chords,
while the fingering of three successive frets suffices to play seconds, fourths,
sevenths, and ninths.[11][14]
For the standard Western guitar, which has six strings, major-thirds tuning has a
smaller range than standard tuning; on a guitar with seven strings, the major-thirds
tuning covers the range of standard tuning on six strings. Even greater range is
possible with guitars with eight strings.[4][15]

The major-thirds tuning A-C-E-AC-E repeats its three open-notes in the

higher octave after three strings.

Major-thirds tuning
was introduced in
1964 by the American
jazz-guitarist
Ralph Patt to facilitate
improvisation.[4][16]
In major-thirds tuning, chords are inverted by
raising notes by three strings on the same frets. The
inversions of a C major chord are shown. [10]

Chords vertically shift.

Major-thirds tuning repeats its notes after three strings.

All fourths
E-A-d-g-c'-f'
This tuning is like that of the lowest four strings in standard tuning.[17][18] Consequently, of all the regular tunings, it is
the closest approximation to standard tuning, and thus it best allows the transfer of a knowledge of chords from standard
tuning to a regular tuning. Jazz musician Stanley Jordan plays guitar in all-fourths tuning; he has stated that all-fourths
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tuning "simplifies the fingerboard, making it logical".[19]

For all-fourths tuning, all twelve major chords (in the first or open positions) are generated by two chords, the open
F major chord and the D major chord. The regularity of chord-patterns reduces the number of finger positions that need to
be memorized.[20]
The left-handed involute of an all-fourths tuning is an all-fifths tuning. All-fourths
tuning is based on the perfect fourth (five semitones), and all-fifths tuning is based
on the perfect fifth (seven semitones). Consequently, chord charts for all-fifths
tunings may be used for left-handed all-fourths tuning.[21]

The consecutive notes of all-fourths

tuning are spaced apart by five semitones on the chromatic circle.

All fourths tuning.

Augmented fourths
C-F-c-f-c'-f' and B-F-b-f-b'-f' etc.
Between the all-fifths and all-fourths tunings are augmented-fourth tunings, which
are also called "diminished-fifths" or "tritone" tunings. It is a repetitive tuning that
repeats its notes after two strings. With augmented-fourths tunings, the fretboard
has greatest symmetry.[22] In fact, every augmented-fourths tuning lists the notes
of all the other augmented-fourths tunings on the frets of its fretboard. Professor
Sethares wrote that
"The augmented-fourth interval is the only interval whose inverse is the
same as itself. The augmented-fourths tuning is the only tuning (other than
the 'trivial' tuning C-C-C-C-C-C) for which all chords-forms remain
unchanged when the strings are reversed. Thus the augmented-fourths
tuning is its own 'lefty' tuning."[23]

A line segment bisecting the

chromatic circle specifies an
augmented-fourths (tritone) tuning.

Of all the augmented-fourths tunings, the C-F-c-f-c'-f ' tuning is the closest approximation to the standard tuning, and
its fretboard is displayed next:
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Tritone:[23] Each fret displays the open strings of an augmented-fourths tuning

open
(0th fret)

1st fret

2nd fret

3rd fret

4th fret

5th fret

1st string

f '

g'

g'

a"

a"

b"

2nd string

c'

c'

d'

d'

e'

f'

3rd string

a'

a'

b'

4th string

5th string

6th string

An augmented-fourths tuning "makes it very easy for playing half-whole scales, diminished 7 licks, and whole tone
scales," stated guitarist Ron Jarzombek.[24]

All fifths: "Mandoguitar"

C-G-d-a-e'-b'
All-fifths tuning is a tuning in intervals of
perfect fifths like that of a mandolin, cello
or violin; other names include "perfect
fifths" and "fifths".[25] Consequently,
classical compositions written for violin or
guitar may be adapted to all-fifths tuning
more easily than to standard tuning.
When he was asked whether tuning in
fifths facilitates "new intervals or
harmonies that aren't readily available in
The consecutive open-notes of allNew standard tuning substitutes a G
standard tuning", Robert Fripp responded,
fifths tuning are spaced seven semifor the high B of all-fifths tuning.
"It's a more rational system, but it's also
tones apart on the chromatic circle.
better soundingbetter for chords, better
While the notes of the open-notes of
for single notes." To build chords, Fripp uses "perfect intervals in fourths, fifths
the all-fifths and all-fourths tunings
agree, their orderings are reversed.
and octaves", so avoiding minor thirds and especially major thirds,[26] which are
sharp in equal temperament tuning (in comparison to thirds in just intonation). It is
a challenge to adapt conventional guitar-chords to new standard tuning, which is based on all-fifths tuning.[27] Some
closely voiced jazz chords become impractical in NST and all-fifths tuning.[28]
It has a wide range, thus its implementation can be difficult. The high b requires a taut, thin string, and consequently is
prone to breaking. This can be ameliorated by using a shorter scale length guitar, by shifting to a different key, or by
shifting down a fifth.
The left-handed involute of an all-fifths tuning is an all-fourths tuning. All-fifths tuning is based on the perfect fifth
(seven semitones), and all-fourths tuning is based on the perfect fourth (five semitones). Consequently, chord charts for
all-fifths tunings are used for left-handed all-fourths tuning.[21]
New standard tuning

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All-fifths tuning has been approximated with tunings that avoid the high b' or the low C. The b' has been replaced with a
g' in the new standard tuning (NST) of King Crimson's Robert Fripp. The original version of NST was all-fifths tuning.
However, in the 1980s, Fripp never attained the all fifth's high b'. While he could
attain a', the string's life-time distribution was too short. Experimenting with a
g string, Fripp succeeded. "Originally, seen in 5ths. all the way, the top string
would not go to B. so, as on a tenor banjo, I adopted an A on the first string. These
kept breaking, so G was adopted."[29] In 2012, Fripp experimented with A String
(0.007);[30][31] if successful, the experiment could lead to "the NST 1.2", CGDAEA, according to Fripp.[30] Fripp's NST has been taught in Guitar Craft
courses.[32][33] Guitar Craft and its successor Guitar Circle have taught Fripp's
New standard tuning.
tuning to three-thousand students.[34]
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New Standard Tuning's open strings.

Extreme intervals
For regular tunings, intervals wider than a perfect fifth or narrower than a minor third have limited interest.
Wide intervals
Two regular-tunings based on sixths, having intervals of minor sixths (eight semitones) and of major sixths (nine
semitones), have received scholarly discussion.[35] The chord charts for minor-sixths tuning are useful for left-handed
guitarists playing in major-thirds tuning; the chord charts for major-sixths tuning, for left-handed guitarists playing in
minor-thirds tuning.[21]
The regular tunings with minor-seventh (ten semitones) or major-seventh (eleven semitones) intervals would make chordplaying very difficult, as would octave intervals.[21]
Narrow intervals
The regular-tunings that have as their intervals either zero semi-tones (unison), one semi-tone (minor second), or two
semi-tones (major second) have little musical-interest, because it is very difficult to play chords in those tunings.[21]
The "trivial" class of unison tunings (such as C-C-C-C-C-C) is its own left-handed tuning.[21] Unison tunings are briefly
discussed in the article on ostrich tunings. Having exactly one note, unison tunings are also ostrich tunings, which have
exactly one pitch class (but may have two or more notes, for example, C, c, and c'); non-unison ostrich tunings are not
regular.

Left-handed involution
The class of regular tunings is preserved under the involution from right-handed to left-handed tunings, as observed by
William Sethares.[21] The present discussion of left-handed tunings is of interest to musical theorists, mathematicians, and
left-handed persons, but may be skipped by other readers.
For left-handed guitars, the ordering of the strings reverses the ordering of the strings for right-handed guitars. For
example, the left-handed involute of the standard tuning E-A-D-G-B-E is the "lefty" tuning E-B-G-D-A-E. Similarly, the
"left-handed" involute of the "lefty" tuning is the standard ("righty") tuning.[21]

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The reordering of open-strings in left-handed tunings has an important consequence. The chord fingerings for the righthanded tunings must be changed for left-handed tunings. However, the left-handed involute of a regular tuning is easily
recognized: it is another regular tuning. Thus the chords for the involuted regular-tuning may be used for the left-handed
involute of a regular tuning.
For example, the left-handed version of all-fourths tuning is all-fifths tuning, and the left-handed version of all-fifths
tuning is all-fourths tuning. In general, the left-handed involute of the regular tuning based on the interval with
semitones is the regular tuning based on its involuted interval with
semitones: All-fourths tuning is based on the
perfect fourth (five semitones), and all-fifths tuning is based on the perfect fifth (seven semitones), as mentioned
previously.[21] The following table summarizes the lefty-righty pairings discussed by Sethares.[21]
Left-handed tunings[21]
Right-handed
Left-handed
Minor thirds

Major sixths

Major thirds

Minor sixths

All fourths

All fifths

Augmented fourths Augmented fourths

All fifths

All fourths

Minor sixths

Major thirds

Major sixths

Minor thirds

The left-handed involute of a left-handed involute is the original right-handed tuning. The left-handed version of the
trivial tuning C-C-C-C-C-C is also C-C-C-C-C-C. Among non-trivial tunings, only the class of augmented-fourths
tunings is fixed under the lefty involution.[21][22]

Summary
The principal regular-tunings have their properties summarized in the following table:
Regular
tuning

Interval
(Number
Repetition
of
semitones)

Advantages:
Each facilitates
learning and
improvisation.

Disadvantages:
Left-handed
None use
standard-tuning's involution[21]
open chords.

Guitarist(s)

Chromatic scale
on four
successive frets.
Hence, reduced
hand-stretching:
Major and
minor
chords are
played on
Major
thirds

Major
third (4)

After 3
strings

2
successive
frets;
others

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Smaller
range
(without 7
strings)

Minor-sixth
tuning

Ralph Patt

Only three
open-notes.
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(seconds,
fourths,
sevenths,
and
ninths) on
3.[14]

Uses chords
from lowest 4
All fourths

Perfect
fourth (5)

Nonrepetitive[36]

strings of

Difficult to play
standard tuning. folk chords

All-fifths
tuning

Stanley Jordan

Same tuning as
bass guitar
Augmented
After 2
Tritone (6)
fourths
strings

symmetry ("lefthanded")

AugmentedOnly 2 open notes fourths

tuning

Wide scope
facilitates
ensemble
playing and
single-note
All fifths

Perfect
fifth (7)

Nonrepetitive[36]

picking (rather
than
conventional
chords)
Natural for allfifths music
(violin, cello)

Very
difficult to
play
conventional
chords.
Requires

All-fourths
tuning

extreme

Robert Fripp, League

of Crafty Guitarists,
and California Guitar
Trio
(New standard tuning)

(light and
heavy)
strings.

Notes
1. ^ a b c d Sethares (2001)
2. ^ Denyer (1992, p. 119)
3. ^ Griewank (2010, p. 3)
4. ^ a b c d Patt, Ralph (14 April 2008). "The major 3rd tuning" (http://www.ralphpatt.com/Tune.html). Ralph Patt's jazz web page.
ralphpatt.com. cited by Sethares (2011) and Griewank (2010, p. 1). Retrieved 10 June 2012.
5. ^ a b Sethares (2001, pp. 5455)
6. ^ Griewank (2010, p. 9)
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7. ^ a b c Sethares (2001, pp. 54)

8. ^ "ACD#F#AC: Minor thirds (m3)" (http://www.gtdb.org/tuner/acd-sharp-f-sharp-ac/). Guitar tunings database. 3 February
2013. Retrieved 4 February 2013.
9. ^ "G#BDFG#B: Minor thirds (m3)" (http://www.gtdb.org/tuner/g-sharp-bdfg-sharp-b/). Guitar tunings database. 3 February
2013. Retrieved 4 February 2013.
10. ^ Kirkeby (2012, "Fretmaps, major chords: Major Triads" (http://v3p0.m3guitar.com/html/fretmaps_chords_major.html))
11. ^ a b c Sethares (2001, pp. 56)
12. ^ a b Griewank, Andreas (1 January 2010), Tuning guitars and reading music in major thirds (http://vs24.kobv.de/opus4matheon/frontdoor/index/index/docId/675), Matheon preprints 695, Rosestr. 3a, 12524 Berlin, Germany: DFG research center
"MATHEON, Mathematics for key technologies" Berlin, Postscript file (http://vs24.kobv.de/opus4matheon/files/675/7047_mathtune.ps) and Pdf file (http://vs24.kobv.de/opus4-matheon/files/675/7046_mathtune.pdf)
13. ^ Kirkeby, Ole (1 March 2012). "Major thirds tuning" (http://v3p0.m3guitar.com/). m3guitar.com. cited by Sethares (2011) and
Griewank (, p. 1). Retrieved 10 June 2012.
14. ^ a b Griewank (2010, p. 2)
15. ^ In the table, the last row is labeled the "7th string" so that the low C tuning can be displayed without needing another table; the
term "7th string" does not appear in the sources.
Similarly, the terms "-1st string" and "0th string" do not appear in the sources, which do discuss guitars having seven-eight
strings.
16. ^ Griewank (2010, p. 1)
17. ^ Sethares (2001, pp. 5859)
18. ^ Bianco, Bob (1987). Guitar in Fourths. New York City: Calliope Music. ISBN 0-9605912-2-2. OCLC 16526869
(https://www.worldcat.org/oclc/16526869).
19. ^ Ferguson (1986, p. 76):
Ferguson, Jim (1986). "Stanley Jordan" (http://books.google.se/books?
id=3idLAAAAYAAJ&q=%22Stanley+Jordan%22,+%22all+fourth%22+OR+%22perfect+fourth%22,+guitar+tuning&dq=%22St
anley+Jordan%22,+%22all+fourth%22+OR+%22perfect+fourth%22,+guitar+tuning&hl=en&sa=X&ei=BfzgT_XgKILetAaampn
yDg&ved=0CDEQ6AEwAA). In Casabona, Helen; Belew, Adrian. New directions in modern guitar. Guitar Player basic
library. Hal Leonard Publishing Corporation. pp. 6876. ISBN 0881884235; ISBN 9780881884234.
20. ^ Sethares (2001, p. 52)
21. ^ a b c d e f g h i j k l m Sethares (2001, p. 53)
22. ^ a b Sethares (2001, "The augmented fourths tuning" 6061)
23. ^ a b Sethares (2001, "The augmented fourths tuning", p. 60 (http://sethares.engr.wisc.edu/alternatetunings/regulartunings.pdf))
24. ^ Turner, Steve (30 December 2005). "Interview with Ron Jarzombek" (http://www.ronjarzombek.com/stevet.html).
RonJarzombek.com (http://www.ronjarzombek.com/). Retrieved 23 May 2012..
25. ^ Sethares (2001, "The mandoguitar tuning" 6263)
26. ^ Mulhern (1986): Mulhern, Tom (January 1986). "On the discipline of craft and art: An interview with Robert Fripp"
(http://www.mulhern.com/articles/Fripp.html). Guitar Player 20: 88103. Retrieved 8 January 2013.
27. ^ Musicologist Eric Tamm wrote that despite "considerable effort and search I just could not find a good set of chords whose
sound I liked" for rhythm guitar. (Tamm 2003, Chapter 10: Postscript (http://www.progressiveears.com/frippbook/ch10.htm))
Tamm, Eric (2003) [1990], Robert Fripp: From crimson king to crafty master
(http://www.progressiveears.com/frippbook/ch10.htm) (Progressive Ears ed.), Faber and Faber (1990), ISBN 0-571-16289-4,
Zipped Microsoft Word Document (http://www.erictamm.com/rf.zip), retrieved 25 March 2012
28. ^ Sethares (2001, "The mandoguitar tuning", pp. 6263)
29. ^ Fripp, Robert (5 February 2010). "Robert Fripp's diary: Friday, 5th February 2010" (http://www.dgmlive.com/diaries.htm?
entry=16789). Discipline Global Mobile, DGM Live!.
30. ^ a b Fripp, Robert (22 April 2012). "Robert Fripp's diary: Sunday, 22nd April 2012" (http://www.dgmlive.com/diaries.htm?
https://en.wikipedia.org/wiki/Regular_tuning

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entry=21688). Discipline Global Mobile, DGM Live!.

31. ^ Octave4Plus of Gary Goodman (http://octave4plus.com/)
32. ^ Tamm, Eric (2003) [1990], Robert Fripp: From crimson king to crafty master
(http://www.progressiveears.com/frippbook/ch10.htm) (Progressive Ears ed.), Faber and Faber (1990), ISBN 0-571-16289-4,
Zipped Microsoft Word Document (http://www.erictamm.com/rf.zip), retrieved 25 March 2012
33. ^ Zwerdling, Daniel (5 September 5 1998). "California Guitar Trio" (http://www.highbeam.com/doc/1P1-29111365.html). All
Things Considered (NPR Weekend Edition ed.) (Washington DC: National Public Radio). Html transcription (subscription
required) (http://www.highbeam.com/doc/1P1-29111365.html). Audio recording (free)
(http://www.npr.org/templates/story/story.php?storyId=1006483). Retrieved 25 March 2012. Check date values in: |date= (help)
34. ^ Fripp (2011, p. 3): Fripp, Robert (2011). Pozzo, Horacio, ed. Seven Guitar Craft themes: Definitive scores for guitar ensemble
(http://partitasmusic.com/). "Original transcriptions by Curt Golden", "Layout scores and tablatures: Ariel Rzezak and
Theo Morresi" (First limited ed.). Partitas Music. ISMN 979-0-9016791-7-7. DGM Sku partitas001.
35. ^ Sethares (2001, pp. 6467)
36. ^ a b No repetition occurs in six strings; repetition occurs after 12 strings.

References
Denyer, Ralph (1992). "Playing the guitar ('How the guitar is tuned', pp. 6869, and 'Alternative tunings', pp. 158
159)". The guitar handbook. Special contributors Isaac Guillory and Alastair M. Crawford (Fully revised and
updated ed.). London and Sydney: Pan Books. pp. 65160. ISBN 0-330-32750-X.
Griewank, Andreas (1 January 2010), Tuning guitars and reading music in major thirds
(http://vs24.kobv.de/opus4-matheon/frontdoor/index/index/docId/675), Matheon preprints 695, Rosestr. 3a, 12524
Berlin, Germany: DFG research center "MATHEON, Mathematics for key technologies" Berlin, Postscript file
(http://vs24.kobv.de/opus4-matheon/files/675/7047_mathtune.ps) and Pdf file (http://vs24.kobv.de/opus4matheon/files/675/7046_mathtune.pdf)
Sethares, Bill (2001). "Regular tunings" (http://sethares.engr.wisc.edu/alternatetunings/regulartunings.pdf) (pdf).
Alternate tuning guide. Madison, Wisconsin: University of Wisconsin; Department of Electrical Engineering.
pp. 5267. Retrieved 19 May 2012.
Sethares, Bill (10 January 2009) [2001]. Alternate tuning guide
(http://sethares.engr.wisc.edu/alternatetunings/alltunings.pdf) (pdf). Madison, Wisconsin: University of Wisconsin;
Department of Electrical Engineering. Retrieved 19 May 2012.
Sethares, William A. (18 May 2012). "Alternate tuning guide"
(http://sethares.engr.wisc.edu/alternatetunings/alternatetunings.html). Madison, Wisconsin: University of
Wisconsin; Department of Electrical Engineering. Retrieved 8 December 2012.
Weissman, Dick (2006). Guitar tunings: A comprehensive guide (http://books.google.se/books?id=rRf8x53_1gC&dq=Dick+Weissman,+Guitar+tuning&source=bl&ots=J2gON97DvJ&sig=mUoCTUXlK-VHHP1Nv2AjiKUd6Y&hl=sv&sa=X&ei=guoTUI_vL8mn4gScmIGwCg&ved=0CDkQ6AEwAA). Routledge.
ISBN 9780415974417. LCCN 0415974410 (http://lccn.loc.gov/0415974410).

External links
Allen, Warren (22 September 2011) [30 December 1997]. "WA's
encyclopedia of guitar tunings"
https://en.wikipedia.org/wiki/Regular_tuning

The Wikibook Guitar has

a page on the topic of:
Alternative tunings
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(http://warrenallencom.ipage.com/waguitartunings/tunings.htm).
(Recommended by Marcus, Gary (2012). Guitar zero: The science of learning to be musical. Oneworld. p. 234.
ISBN 9781851689323.). Retrieved 27 June 2012.
Sethares, William A. (12 May 2012). "Alternate tuning guide: Interactive"
(http://sethares.engr.wisc.edu/alternatetunings/alternatetuningsInteractive.html). Uses Wolfram Cdf player.
Retrieved 27 June 2012.

Major thirds
Professors Andreas Griewank and William Sethares each recommend discussions of major-thirds tuning by two
jazz-guitarists, (Sethares 2011, "Regular tunings
(http://sethares.engr.wisc.edu/alternatetunings/alternatetunings.html)") and (Griewank 2010, p. 1):
Ole Kirkeby for 6- and 7-string guitars (http://v3p0.m3guitar.com/): Charts of intervals
(http://v3p0.m3guitar.com/html/fretmaps_intervals.html) major chords
(http://v3p0.m3guitar.com/html/fretmaps_chords_major.html), and minor chords
(http://v3p0.m3guitar.com/html/fretmaps_chords_minor.html), and recommended gauges for strings
(http://v3p0.m3guitar.com/html/strings.html).
Ralph Patt for 6-, 7-, and 8-string guitars (http://www.ralphpatt.com/Tune.html): Charts of scales
(http://www.ralphpatt.com/Tune/Scales.html), chords (http://www.ralphpatt.com/Tune/Chords.html), and
chord-progressions (http://www.ralphpatt.com/Tune/Prog.html).

All fourths
Yahoo group for all-fourths tuning (http://launch.groups.yahoo.com/group/GuitarTuningIn4ths/links)

New standard tuning

Courses in New Standard Tuning are offered by Guitar Circle, the successor of Guitar Craft
(http://www.guitarcraft.com/):
Guitar Circle of Europe (http://www.guitarcircleofeurope.com/)
Guitar Circle of Latin America (http://www.guitarcircleoflatinamerica.com/)
Guitar Circle of North America (http://www.guitarcircleofnorthamerica.com/)
Retrieved from "http://en.wikipedia.org/w/index.php?title=Regular_tuning&oldid=628118825"
Categories: Regular guitar-tunings Design theory Intervals (music)
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