List of guitar tunings
This article contains a list of guitar tunings that supplements the article guitar tunings. In particular, this list contains more examples of open and regular tunings, which are discussed in the article on guitar tunings. In addition, this list also notes dropped tunings. Standard tuning. E-A-D-g-b-e Throughout, this list references standard tuning, i.e. for comparison. Open. Major. Major open-tunings give a major chord with the open strings. Used by Nickelback on "Should've Listened", Devin Townsend in recent years, and Big Wreck on "Albatross". Open C. This open C tuning  is used by William Ackerman for his "Townsend Shuffle" and by John Fahey for his tribute to Mississippi John Hurt. This tuning is also commonly used by John Butler on his 12-string guitar. This tuning is used on most work by Devin Townsend in his solo work as well as his work with Strapping Young Lad. When playing on a 7-string guitar, he would have a low G as the lowest string to complete the fifth. David Wilcox also recorded his most famous songs, "Eye of the Hurricane" and "Rusty Old American Dream", both from "How Did You  Find Me Here", in this tuning, as well as "New World", "Show the Way", "Hold It Up to the Light", and his cover of "It's the Same Old Song" from "Big Horizon", and "Mango" from "East Asheville Hardware". The English guitar used a repetitive open-C tuning that approximated a major-thirds tuning. This open-C tuning gives the initial harmonic series when a C-string is struck. The C-C-G-C-E-G tuning uses the harmonic sequence (overtones) of the note C. When an open-note C-string is struck, its harmonic sequence begins with the  notes (C,C,G,C,E,G,B♭,C). This overtone-series tuning was modified by Mick Ralphs, who used a high C rather than the high G for "Can't Get Enough" on "Bad Company". Ralphs said, "It needs the open C to have that ring," and "it never really sounds right in standard tuning". Open D. Open-D tuning is used by Joni Mitchell for her "Big Yellow Taxi", Nick Drake for "Place To Be", Alt-J for "Interlude 2", Boys Like Girls for "Thunder", David Wilcox for "Wildberry Pie", "Mighty Ocean", "Kindness", and "Never Enough", and  by Soko for "No More Home, No More Love". Open-D tuning has been called "Vestapol" tuning. Richie Havens used Open D tuning to be able to play chords using only his thumb and one or two fingers. Wilco have several songs in Open D. Kevin Cronin used Open D in "Time for Me to Fly", the 1978 REO Speedwagon hit song, with four top-string variations for G and A. This alternative Open D tuning (and its downtuned variations) is frequently used by Mark Tremonti guitarist for the bands Creed, Alter Bridge, and Tremonti. It was also used by  Keith Richards on "Jumpin' Jack Flash" and the Stone Roses in "Love Spreads". This tuning is the same as Open D but tuned a half-step down. It is used by Alice In Chains on the songs "Over Now", "Nothin' Song", and "Shame in You"; by Guns N' Roses on the song "Bad Obsession"; and by Switchfoot on the song "Daisy". C-F-C-F-A-C is the more common of the two. Open F. Used by F-F-C-F-A-C is also used by Dave Mason on "Only You Know and I Know" F-A-C -G-C-E is also sometimes used, most notably by the band American Football. The guitarist Yvette Young is also known to use this tuning. Open G. Open G was used in rock by Jimmy Page of Led Zeppelin in the songs "Dancing Days", "That's The Way" and "Black Country Woman", Keith Richards of The Rolling Stones as well as in Mississippi blues by Son House, Charley Patton, and Robert Johnson, some songs by Alter Bridge (including down-tuned and minor variations on "In Loving Memory", "Watch Over You", "Wonderful Life", "Words Darker Than Their Wings", "Cradle to the  Grave", and "Dying Light"), and in "Fearless" by Pink Floyd. David Wilcox used this tuning on "The Nightshift Watchman". Listing the initial six harmonics of the G note, this open-G tuning was used by Joni Mitchell for "Electricity", "For the Roses", and "Hunter (The Good Samaritan)". It was also used by Mick Ralphs for "Hey Hey" on Bad Company's debut album. and on the Meowtain song "Alleyway" Stone Gossard also used this tuning in the song "Daughter" by Pearl Jam. Minor: Cross-note. The following open-tunings use a minor third, and give a "minor chord" with open  strings. To avoid the relatively cumbersome designation "open D minor", "open C minor", such tunings are sometimes called ""cross-note tunings"". The term also expresses the fact that, compared to Major chord open tunings, by fretting the lowered string at the first fret, it is possible to produce a major chord very easily. Cross-note or open E-minor was used by Bukka White and Skip James. Cross-note tunings include (low to high): Modal. In modal tunings, the strings are tuned to form a chord which is not definitively minor or major. These tunings may facilitate very easy chords  and unique sounds when the open strings are used as drones. Often these tunings form a suspended chord on the open strings. A well known user of modal tunings is Sonic Youth. Extended chord. In extended chord tunings, the open strings form a seventh, ninth, or eleventh chord. Regular tunings. Major seconds. A compact tuning that fits within one octave and covers the chromatic scale between open strings and the first fret. Minor thirds. In the minor-thirds tuning, every interval between successive strings is a minor third. In the minor-thirds tuning beginning with C, the open strings contain  the notes (C, D, F) of the diminished C chord. Major thirds. "Major-thirds tuning" is a regular tuning in which the musical intervals between successive strings are each major thirds. Unlike all-fourths and all-fifths tuning, major-thirds tuning repeats its octave after three strings, which again simplifies the learning of chords and improvisation. Neighboring the standard tuning is the major-thirds tuning that has the open strings A lower major-thirds tuning has the open strings which "contains two octaves of a C augmented chord". All fourths. This tuning is like that of the lowest four strings  in standard tuning. Jazz musician Stanley Jordan plays guitar in all-fourths tuning; he has stated that all-fourths tuning "simplifies the fingerboard, making it logical". Augmented fourths. Between the all-fifths and all-fourths tunings are "augmented-fourth" tunings, which are also called ""diminished-fifths"" or ""tritone"" tunings. All fifths: "Mandoguitar". 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". It has a wide range, thus it requires an appropriate range of string gauges. A high "b"' string has been recently developed  by Octave4Plus gauged at .006 which is pretty thin, but under really low tension to prevent breakage. New standard tuning. All-fifths tuning has been approximated by the New Standard Tuning (NST) of King Crimson's Robert Fripp. It has a wider range than standard tuning, and its perfect-fifth intervals facilitate quartal and quintal harmony. Ostrich tuning. "Ostrich tuning" is a tuning where all strings are tuned to the same note over two or three octaves, creating an intense, chorused drone and interesting fingering potential. Used by Soundgarden (E-E-e-e-e'-e') on the song "Mind Riot", and  by Lou Reed in the Velvet Underground. Dropped. "Drop tunings" lower the sixth string, dropping the lowest E string of the standard tuning. Some drop tunings also lower the fifth string (the A-note in standard-tuning). A "drop one" tuning lowers the pitch by one full step. Some lower tunings may call for a baritone guitar to more easily maintain high string tension and a rich tone. Others can be achieved using a capo and/or a partial capo. Shifted. These tunings are derived by systematic increases or decreases to standard tuning. Lowered (Standard). Derived from standard EADGBE, all the  strings are tuned lower by the same interval, thus providing the same chord positions transposed to a lower key. Lower tunings are popular among rock and heavy metal bands. The reason for tuning down below standard pitch is usually either to accommodate a singer's vocal range or to get a deeper/heavier sound. Raised. From standard EADGBE, all the strings are tuned up by the same interval. String tension will be higher. Typically requires thinner gauge strings, particularly the first string which could be as thin as six thousandths of an inch (about the thickness of a single human  hair). A capo is typically preferred over these tunings, as they do not increase neck strain, etc. The advantage of these tunings is that they allow an extended upper note range versus a capo used with standard tuning which limits the number of notes that can be played; in some cases, instruo B or E (such as saxophones, which were frequently encountered in early rock and roll music) are more easily played when the accompanying guitar plays chords in the higher tuning. If standard gauge strings are used, the result is often a "brighter" or "tighter" sound; this was a  common practice for some bluegrass bands in the 1950s, notably Flatt & Scruggs. Double-dropped. Similar to the dropped tunings, except that both the 1st and 6th strings are dropped one full step. Miscellaneous. Dad-Gad. DADGAD was developed by Davey Graham in the early 1960s when he was travelling in Morocco, to more easily play along with Oud music. Among the first to use this tuning were the folk-blues guitarists of the '60s like Bert Jansch, John Renbourn, Martin Carthy, and John Martyn. It was many years later in the 1970s that it became established for accompanists of traditional  music, predominantly Scottish and Irish. Due to this popularity it is sometimes referred to as "Celtic" tuning, although this is misleading given its origin and its primary early use in a quite different field of music. Often vocalized as "Dad-Gad", DADGAD it is now common in Celtic music. In rock music, has been used in Led Zeppelin's "Kashmir". Pierre Bensusan is another noted exponent of this tuning. The post-metal group Russian Circles also employ this tuning, and also plays it tuned a half-step down: D-A-d-g-a-d'. Four down-tuned variations are used  by the band Sevendust: A Drop C# variation, or C-G-c-f-g-c', Also uses a variation where the lowest string is dropped to G on the song "Chop" A Drop C variation, or C-G-c-f-g-c'. (used on the song "Unraveling". Also uses a variation where the lowest string is dropped to G, used on some songs from Kill the Flaw and the song "Life Deceives You"), a Drop B variation, or B'-F-B-e-f-b, and a Drop A# variation, or A'-F-A-d-f-a. Neighboring tunings D-A-d-e -a-e' and C-G-c-d-g-a have been used by Martin Carthy. Also D-A-d-a-a-d', was used by Dave Wakeling on the English Beat's 1983 "Save It For Later". Dad-Dad. Nicknamed - "Papa-Papa". DADDAD is common in folk music (Irish, Scottish), and for the execution of a rhythm guitar in "heavy" (alternative music) on 6th on the third string at the same time. To reach the tuning from DADGAD, Open D or Open D Minor, the G string is dropped to D so that the 3rd and 4th strings are tuned  to the same pitch. DADDAD tuning is sometimes used on Dobro guitars for rock and blues. Notable users of this tuning include Billy McLaughlin and John Butler. Cello/Standard guitar. Essentially a cello tuning with the deeper four strings in fifths and the two highest strings in standard guitar tuning. Used on numerous Pavement songs (including Cut Your Hair and by Foo Fighters on the song "Weenie Beenie". Section::::"Karnivool" tuning. Hybrid tuning between drop B-tuning and E-standard. Used by the band Karnivool for many of their songs. The hybrid tuning with the 3rd string lowered a half-step  to create a larger power chord, Also used by Karnivool. Mi-composé. Mi-composé is a tuning commonly used for rhythm guitar in African popular music forms such as soukous and makossa. It is similar to the standard guitar tuning, except that the d string is raised an entire octave. This is accomplished by replacing the d string with an e' string and tuning it to d'. Section::::"Iris" Tuning. Tuning used by Johnny Rzeznik of the Goo Goo Dolls on the song "Iris". E-A-C#-F#-A-C# ("Sleeping Ute"). Tuning used by Grizzly Bear guitarist Daniel Rossen in "Sleeping Ute , the opening song of their album Shields". Creates an F#m7/E chord when strummed open. José González tuning. D-A-D-G-B-E This is a tuning favored by the Swedish singer-songwriter José González. He uses this on such songs as "Crosses", "Heartbeats" and "Cycling Trivialities" (capo on second fret). It is similar to the standard guitar tuning, but the low E string is dropped to D and the G string is dropped a half step to F/G. Also used by artists such as M. Ward, Stephen Malkmus, and Day Wave. Dadd9 tuning D-A-D-F#-A -E. This tuning is used by Tonic in their song Soldier's Daughter with a capo on the 4th fret. Mr.Tom tuning. D-F#-A-E-F#-A This tuning was made by songwriter/composer Mr.Tom (Rawding) during the creation of an original indie folk instrumental "When You Stand By Me". The tuning is based on the Open D tuning. Liberty tuning. E-A-D-g-c'-e' Promoted by Harvey Reid for use in combination with a partial capo, as a system which is easier for children to learn. Microtonal tuning. The open strings of a guitar can be tuned  to microtonal intervals, however microtonal scales cannot easily be played on a conventional guitar because the frets only allow for a chromatic scale of twelve equally spaced pitches, each a semitone apart. (Certain microtonal scales, particularly quarter tones, can be played on a standard guitar solely by adjusting tunings, but the distance between notes on the scale makes it somewhat impractical.) It is possible to play microtonal scales on a fretless guitar, to convert a fretted guitar into a fretless, or to make a custom neck with a specific microtonal fret spacing. Guitars can also be refretted to a  microtonal scale. On many refretted microtonal guitars, the frets are split, so that the tuning of each string is independent from the others. To enable an adjustable microtonal tuning, there exist guitars with frets that can be moved across the fingerboard. Extended techniques such as the 3rd bridge technique, slide guitar and prepared guitar techniques can be used to produce microtonality without severe modification to the instrument. Guitar tunings inspired by other Instruments. In his on-line guide to alternative tunings for six-string guitars, William Sethares mentions several that are inspired by instruments other than guitars, for example: This  tuning may also be used with a capo at the third fret to match the common lute pitch: G-c-f-a-d'-g'. This tuning also matches standard vihuela tuning and is often employed in classical guitar transcriptions of music written for those instruments, such as, for instance, "La Canción Del Emperador" and "Diferencias Sobre Guardame Las Vacas" by Renaissance composer Luis de Narváez. Five-string guitar tunings. When the guitar evolved from the renaissance lute in the 18th century it was a five-string instrument (baroque guitar). Today, five-string guitars are common in Brazil, where they are known  as guitarra baiana and are typically tuned in 5ths. Schecter Guitar Research produced a production model five-string guitar called the "Celloblaster" in 1998. A five-string tuning may be necessary in a pinch when a string breaks on a standard six-string (usually the high E) and no replacement is immediately available. Some basic five-string tunings include: Extended-range guitar tunings. Seven-string. Similar to five-string bass guitar tuning, seven-string tuning allows for the extra string a fourth lower than the original sixth string. This allows for the note range of B standard tuning without transposing  E standard guitar chords down two and a half steps down. Baritone 7-string guitars are available which features a longer scale-length allowing it to be tuned to a lower range. Lower. The open C tuning for 7-string guitar was Devin Townsend's preferred tuning for the extreme metal band Strapping Young Lad (GCGCGCE, used on their last two albums. Also used on Ziltoid the Omniscient, "Planet of the Apes" from Deconstruction, and "Failure" from Transcendence). Dropped. These tunings have the lowest string (or other strings tuned one full step lower allowing for chord structures similar to six -string drop tunings. Eight-string. A continuation of the seven-string guitar, the eight-string guitar adds another string a perfect fourth lower than the low B of the seven-string guitar. This additional low F string is just a whole step up from a bass guitars low E string. Nine-string. A continuation of the eight-string guitar, the nine-string guitar adds a string lower or higher. Ten-string. As a classical instrument introduced by Narciso Yepes (ten-string classical guitar of Yepes), the ten-string guitar adds four sympathetic strings to the classical guitar As a continuation  of the nine-string guitar, the ten-string guitar adds another lower or higher string to the standard tuning. Steel guitar. On pedal steel guitar, the most common tunings on double-neck instruments are the extended-chord C6 tuning and E9 tuning, sometimes known as the "Texas" and "Nashville" tunings respectively. On a double-neck instrument, the neck nearest the player will normally be some form of C6, and the furthest neck E9. Necks with 12 or more strings can be used with "universal" tunings which combine the features of C6 and E9. On a 12-string pedal steel guitar , all 12 strings are tuned and played individually, not as six double courses as on the 12-string guitar. On a lap steel guitar there may be up to four necks, each tuned differently. The C6 tuning was a common tuning for a six-string lap steel in the 1920s and 1930s. Tunings with a sixth interval are popular in Western swing and jazz, while tunings containing sevenths are often chosen for blues and rock music.