Open G tuning
Open G tuning is an alternative guitar tuning in which the open strings collectively form a G major chord, tuned from lowest to highest string as D₂–G₂–D₃–G₃–B₃–D₄.[1][2] This configuration is derived from standard tuning (E–A–D–G–B–E) by lowering the sixth string a whole step from E to D, the fifth string a whole step from A to G, and the first string a whole step from E to D, while leaving the fourth, third, and second strings unchanged.[1][3] The result is a resonant, open-voiced sound that emphasizes the notes G, B, and D in second inversion, enabling guitarists to strum a complete G major chord without fretting any strings or using a capo.[1][2] Widely used across blues, folk, and rock genres, Open G tuning offers advantages such as simplified slide guitar techniques, enhanced drone effects, and easier formation of major chords via simple barre shapes, producing a distinctive bluesy timbre ideal for fingerpicking and rhythmic strumming.[1][3][2] Its history is rooted in early 20th-century Delta blues, where it allowed self-taught musicians to explore complex harmonies and melodies with minimal technical barriers.[4] Pioneering blues guitarist Robert Johnson employed Open G in recordings like his 1936 track "Walkin' Blues," influencing generations of players.[1][4] In modern music, the tuning gained prominence through artists such as Keith Richards of the Rolling Stones, who often uses a five-string version (removing the lowest D string) for songs including "Honky Tonk Women" (1969), "Brown Sugar" (1971), and "Start Me Up" (1981), adapting it for electric guitar with added openness and drive.[2][3] Other notable users include Joni Mitchell in folk compositions, Jimmy Page of Led Zeppelin for rock explorations, Eric Clapton in blues contexts, and bands like the Black Crowes and Eagles of Death Metal, demonstrating its versatility in inspiring innovative chord voicings and tonal textures.[1]Basics and Definition
Definition and Chord Structure
Open tunings are alternate guitar tunings in which the open strings collectively form the notes of a complete major chord, enabling chordal playing without fretting any strings.[5]Open G tuning is a specific open tuning that produces a G major chord when all strings are strummed openly.[1]
From lowest to highest pitch, the strings are tuned to D2, G2, D3, G3, B3, and D4.[6]
This configuration features perfect fourth intervals between the three lowest pairs of adjacent strings (D to G, G to D, D to G), a major third between G and B, and a minor third between B and D.[1]
The resulting open chord voicing consists of the fifth (D), root (G), fifth (D), root (G), third (B), and fifth (D), providing a rich, resonant G major sound in second inversion without requiring any fretting.[7]
Similar to other open tunings such as open D, which forms a D major chord with strings tuned to D A D F♯ A D, open G facilitates slide and fingerstyle techniques by emphasizing consonant intervals.[7]
Comparison to Standard Tuning
Open G tuning alters the pitch of three strings from standard EADGBE tuning, specifically lowering the sixth string from E to D (a whole step down), the fifth string from A to G (a whole step down), and the first string from E to D (a whole step down), while leaving the fourth, third, and second strings (D, G, and B, respectively) unchanged.[1] This adjustment results in decreased tension on the lowered strings compared to standard tuning when using the same gauge strings, creating a relatively slacker feel overall that can affect playability and require guitar setup modifications such as truss rod adjustments or intonation recalibration to maintain optimal action and pitch accuracy across the fretboard.[1] To counteract the reduced tension and achieve a firmer response, many players opt for slightly heavier string gauges, particularly on the bass strings, ensuring better balance without excessive buzzing or poor sustain.[1] Sonically, Open G produces a brighter and more resonant open chord tone due to the clustering of strings around the G major chord intervals, contrasting with standard tuning's more balanced distribution of perfect fourths and a major third that yields a versatile but less immediately harmonic ring when strummed openly.[1] The tuning emphasizes drone-like resonance from the repeated D and G notes, fostering a fuller, more vibrant sustain in open voicings, though it can introduce subtle intonation challenges in higher registers if not properly set up.[1] In terms of playability, Open G simplifies access to major chords in keys centered around G—such as forming a G major chord with no fretting and barring across frets for relatives like C or D—making it highly efficient for rhythmic strumming and slide techniques, but it limits straightforward minor chord shapes without additional barring or partial fretting, unlike standard tuning's broader adaptability across all keys without retuning.[1] Switching between Open G and standard repertoire necessitates retuning those three strings each time, which can disrupt workflow in mixed sets but rewards dedicated use with enhanced expressiveness in compatible styles.[1]History and Origins
Roots in Blues and Folk
Open G tuning, also known as Spanish tuning, has roots in 19th-century folk traditions, including possible influences from Hawaiian slack-key guitar and Mexican styles brought by laborers to the American South.[8] It emerged prominently in the American South during the 1920s and 1930s, becoming a cornerstone of Delta blues through its integration with bottleneck and slide guitar techniques that produced resonant, gritty tones suited to the region's raw musical expression.[4] Pioneering Delta blues musicians in Mississippi and surrounding areas adopted it to emphasize drone strings and repetitive riffs, capturing the emotional intensity of rural life and hardship.[9] This period marked the tuning's rise as a practical choice for acoustic guitarists performing at house parties and jukes, where its open chord structure simplified complex harmonies without requiring advanced finger dexterity.[4] Key figures in Delta blues, such as Robert Johnson, utilized open G to craft haunting slide lines, notably in his 1936 recording of "Cross Road Blues," where the tuning's low D bass and ringing G chords amplified the song's supernatural themes.[10] Son House, a mentor to Johnson, employed open G extensively for its percussive potential in slide playing, as evident in tracks like "Death Letter Blues" from his 1960s revival but rooted in earlier 1930s styles, delivering forceful, rhythmic attacks that defined the Delta sound.[11][9] Similarly, Bukka White incorporated open G in recordings such as "Fixin' to Die Blues" (1940), using the tuning to blend driving slide rhythms with vocal intensity, further solidifying its role in evoking the blues' visceral power.[12] The tuning also permeated folk traditions, particularly in Appalachian styles influenced by British Isles ballads, where self-taught guitarist Elizabeth Cotten adapted open G for fingerstyle arrangements in the early 20th century.[13] Cotten, who learned guitar upside down as a left-handed player without formal instruction, showcased open G's adaptability in pieces like "Spanish Flang Dang," employing thumb-picked bass lines against melodic trebles to create flowing, narrative-driven folk narratives.[14] This widespread adoption in blues and folk stemmed from open G's inherent accessibility for self-taught artists in the South, who often lacked access to formal music education; the tuning's drone foundation and repetitive structures allowed intuitive exploration of modal scales and emotional phrasing, prioritizing feel over theoretical precision.[4][13]Evolution in Rock and Modern Music
In the 1960s, Open G tuning gained prominence in rock music through Keith Richards of the Rolling Stones, who adapted it for electric guitar to create the band's raw, driving sound. Richards popularized the tuning on tracks like "Honky Tonk Women" and "Start Me Up," often employing a five-string variation by removing the lowest string for a brighter, more resonant tone that emphasized drone notes and sparse chord voicings. This electric adaptation, inspired by earlier acoustic uses, allowed for rhythmic propulsion and slide elements that defined the Stones' blues-rock aesthetic, influencing countless guitarists to explore alternate tunings beyond traditional setups.[15][16] During the 1970s and 1980s, Open G expanded into experimental and folk-rock hybrids. Similarly, Jimmy Page of Led Zeppelin integrated Open G into acoustic-driven tracks like "That's the Way" and "Going to California," where it facilitated intricate interplay with mandolin and fingerpicking, merging folk introspection with rock energy. These applications highlighted the tuning's versatility in creating lush, harmonic textures while maintaining a rootsy edge.[17][18][19] In modern music, Open G has seen a revival in indie and folk scenes through artists like Jack White of the White Stripes, who employs it alongside Open D for raw, blues-infused riffs that bridge garage rock with contemporary Americana. 21st-century slide guitarists such as Derek Trucks have further adapted it for amplified performances, drawing on its open-string resonance to achieve fluid, emotive lines in jam-band and roots contexts. Technically, the tuning has evolved with rock's amplification demands, where heavier gauge strings and effects pedals sustain its low-end punch on electric setups; capos enable seamless key shifts without retuning; and hybrid variations, often using partial capos on select strings, allow players to combine Open G's chord simplicity with standard tuning's familiarity for genre-blending experimentation.[20][21][22][23]Tuning Methods
Step-by-Step Tuning from Standard
To achieve Open G tuning (D2-G2-D3-G3-B3-D4) from standard tuning (E2-A2-D3-G3-B3-E4), adjust only the lowest, second-lowest, and highest strings downward by a whole step each, while leaving the middle three strings unchanged. This process requires careful adjustment to ensure even tension and proper intonation across the fretboard.[1][24] Essential tools include an electronic tuner (such as a clip-on or app-based device) for precise absolute tuning, reference pitches from an external source like a piano or pitch pipe, or the guitar itself for relative tuning via frets and harmonics. Relative methods rely on the unchanged D, G, and B strings as anchors, allowing tuning by ear without external aids.[1][25] Follow this sequential process for relative tuning, starting from the bass end to minimize stress on the neck and strings:- Tune the lowest string (6th, low E) down to D: Fret the 5th string (A) at the 5th fret to produce a D note, then adjust the open 6th string to sound the octave below that pitch (a deeper, resonant match by ear). This approximates the interval without needing exact frequency alignment.
- Tune the 5th string (A) down to G: Fret the 4th string (D) at the 5th fret to produce a G note, then adjust the open 5th string to sound the octave below.
- Leave the 4th (D), 3rd (G), and 2nd (B) strings as they are in standard tuning.
- Tune the highest string (1st, high E) down to D: Fret the 3rd string (G) at the 5th fret to produce a D note, then adjust the open 1st string to match that exact pitch (same octave).
Five-String Variation
The five-string variation of Open G tuning modifies the standard six-string configuration by removing or muting the lowest string (tuned to D), resulting in the notes G2-D3-G3-B3-D4 from low to high.[28] This setup, often associated with electric guitars, allows for a more focused chord structure centered on the G major triad while eliminating the sub-lowest D, which is rarely played in rhythm contexts.[16] The primary rationale for this variation on electric guitars is to reduce low-end muddiness and potential frequency clashes with the bass guitar in a band setting, thereby emphasizing midrange resonance and a clearer, drone-like tone suitable for rhythm playing.[28] Keith Richards has described it as enabling "certain drone notes going" and promoting a sparse, frame-based approach inspired by five-string banjos, which enhances the openness and punch of chords without unnecessary low-string interference.[16] To set up a five-string Open G, first tune the guitar to the full six-string Open G (D-G-D-G-B-D), then remove the lowest D string or mute it by taping or lightly touching it during play to prevent accidental ringing.[28] For optimal playability, adjust the bridge saddles and intonation on the remaining five strings, and consider a custom nut if permanently modifying the instrument, though Richards typically simply removes the string without extensive alterations.[16] This variation was popularized by Keith Richards of the Rolling Stones, who adopted it in the late 1960s after learning Open G from Ry Cooder and adapting it for electric rhythm work on tracks like "Honky Tonk Women," "Brown Sugar," and "Start Me Up."[28] Richards' implementation influenced subsequent rock guitarists in punk and alternative genres, establishing the five-string Open G as a signature for raw, midrange-driven tones in ensemble settings.[29]Musical Applications
Chord Voicings and Fingerings
In Open G tuning (D-G-D-G-B-D from lowest to highest string), the fundamental major chord voicing for G is formed by strumming all six strings open, yielding the notes D (root's octave), G (root), D (fifth), G (root), B (major third), and D (fifth's octave), which creates a resonant G major chord with inherent drone qualities from the repeated notes.[1] This open position allows for immediate access to the tuning's harmonic foundation without any fretting, making it ideal for both strumming and fingerstyle play.[30] Movable major chord voicings leverage the tuning's structure through simple barre techniques, where placing an index finger across all strings at the nth fret produces a major chord starting from G and ascending chromatically; for instance, a full barre at the 5th fret results in a C major chord (G-C-G-C-E-G), preserving the open G's stacked thirds and fifths in a transposed form.[24] These barres are efficient for progressions in keys like G, C, and D, as they require minimal finger movement and exploit the identical intervals across the fretboard.[6] Minor chords in Open G demand more targeted fingerings to introduce the minor third (Bb for G minor) while muting or adjusting the open B string to avoid the major third; a standard open-position voicing for G minor uses partial barring on the middle strings, such as frets 0-0-0-3-3-0 (notes D-G-D-Bb-D-D), which emphasizes the root, minor third, and fifth with drone support from the low strings.[30] Movable minor shapes often build on this by shifting the partial barre up the neck, for example, at the 5th fret for C minor (x-5-5-8-8-5), though they typically involve lifting or muting select strings for cleaner tone.[6][31] Seventh chords capitalize on the tuning's fifth drones (D and G strings) for added color, with a common G7 voicing at frets 0-0-3-0-0-3 (notes D-G-F-G-B-F), incorporating the dominant seventh (F) while maintaining harmonic tension through the repeated fifths and the tuning's inherent resonance.[24] This shape highlights how Open G facilitates dominant voicings by fretting select strings to add the flat seventh without disrupting the core major structure, and similar adjusted shapes can be used for other dominant sevenths.[6] An alternative simpler G7 is 0-0-0-0-0-3, muting the lowest string and fretting only the high D to F for a lighter texture.[24] Fingerstyle patterns in Open G adapt well to techniques like Travis picking, where the thumb alternates between the bass strings (low D and G) for a steady root-fifth pulse, while the index, middle, and ring fingers pluck the treble strings (G, B, D) to weave melodies or arpeggios around the chord voicings.[32] This adaptation suits the tuning's droning quality, allowing the open fifths to sustain as harmonic backdrop during thumb-driven bass lines, and it briefly enhances slide approaches by providing fretted anchors for hybrid playing.[30]| Chord | Fret Positions (String 6 to 1) | Notes Produced | Description |
|---|---|---|---|
| G major (open) | 0-0-0-0-0-0 | D-G-D-G-B-D | Full open strum for root chord with drones.[1] |
| C major (movable) | 5-5-5-5-5-5 | G-C-G-C-E-G | Full barre at 5th fret for transposition.[24] |
| G minor | 0-0-0-3-3-0 | D-G-D-Bb-D-D | Partial barre on strings 3-5 for minor third.[6] |
| G7 | 0-0-3-0-0-3 | D-G-F-G-B-F | Voicing using fifth drones for tension.[24] |