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A Comparison of New Guitar Methods |
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Introduction: Standard Tuning
The interval between each string in standard guitar tuning is a perfect fourth, with the exception of a major third between the second and third strings--a singular distortion in an otherwise uniform pitch matrix. This particular idiosyncrasy has its origins in the tuning of the four-string guitar in fifteenth-century Spain (low to high): D, G, B, E. The addition of the fifth string, tuned a fourth lower to A, emerged from Italy to popularity throughout sixteenth century Europe. The sixth string, tuned a fourth lower again to E, emerged in the eighteenth century. The seven-string Russian guitar was invented around the turn to the nineteenth century, and employed a chordal tuning not too far removed from the Major Thirds Tuning. The invention of the modern seven-string, however, is attributed to jazzer George Van Eps in the 1930s. He and increasingly more other jazz guitarists have employed a seventh string tuned a fifth lower to A, but since the explosion of popular interest in seven-strings in the late '90s, the more standard tuning has definitely become that a fourth lower at B. (Similarly, the first known sixth-string tuning was to a fifth below the fifth string [to low D], but obviously this didn't become the primary standard either.)
The single third which occurs between the second and third strings in Standard Tuning ends up producing a convenient sharing of pitch class between the first and sixth strings, which facilitates the straight-barre-fingering of some simple six-string chords. It would be reasonable to imagine this was the motivation for the adoption of the third in the tuning. However, as mentioned above, the third in the tuning which results in this relationship between the first and sixth strings predates the addition of the sixth string. The fifth and sixth strings, added in turn, were probably each tuned a fourth below the last more for the convenience of tuning in fourths than for any particular barring results. Furthermore, in this century, the common extension of chord structures, and adoption of techniques such as the angled or cross-fret barre and application of the thumb, have largely reduced the primacy of the straight barre. These circumstances considered, the logical consistency of uniform tunings like the All Fourths or Major Thirds tunings weigh well against the old, Spanish convention of Standard Tuning, especially for guitarists interested in modern harmony and improvisation.
Compare to All 4ths or Major 3rds Tuning
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