1. Getting Started
2. Right Hand
Finger Freedom
3. Harp Style
Examples and Chords
4. Celtic Ornamentation
Triplet Variations
Thumb Triplets
5. Related Tunings
6. Scales in DADGAD
Detailed Charts
7. Chords in DADGAD
Detailed Charts
8. Tablature
Performance Notes
Notation Guide
9. Articles
Miscellaneous Topics


Play DADGAD - Simon Fox

5(c) Related Tunings – BADGAD, DAD?AD, CGDGCD and CGDGAD


Multi-Modal Tunings - CGDGAD and CGDGCD

Tunings such as DADGAD and CGCGCD have a very obvious natural key center (D and C respectively). Some prefer to use tunings which are less clear and open multiple key centers very naturally. For example, if we take DADGAD and change the bass strings we form CG-DGAD. This tuning is wide open for interpretation. An example of this tuning is "Off the Grid" from my Winter's Tale album. This tune is based around the key of G which is probably the most common usage.

A more complex tuning perhaps is the “Orkney” tuning, so named after the Orkney Islands in Scotland. This tuning varies the CGCGCD tuning by raising the 4th string C by one tone to produce CG-D-GCD. Orkney perhaps offers greater versatility and complexity than CGCGCD and requires some effort to become familiar with. American guitarist Steve Baughman has used this tuning to great effect in arranging Celtic tunes and adapting the clawhammer banjo picking technique to the acoustic guitar.


An obvious variation on DADGAD is the open D tuning DADF#AD. This very common tuning is naturally biased towards playing in the key of D major; likewise the tuning DADFAD is biased towards D minor. An interesting variation might be DADG#AD. The Lydian Mode is a scale common to dreamy film-score music. With the G string tuned up to G#, it is possible to play this string open in the key of D and remain in the Lydian mode. This helps to free up the left hand for playing Lydian melodies on the top strings.

BADGAD - An oddity

This is an example of a one-off oddity tuning. Sometimes it's interesting to change one string from a well known tuning and see if something unexpected happens. In this case we drop the bass D in DADGAD down to B. In they key of D, the B minor chord is the "relative minor" and so this tuning suggests a certain melancholy which the deep bass notes only enhance.

An example of this tuning is my tune "Early Hours" from the Winter's Tale CD.  You can listen to this tune by opening the music player and then take a look at the free tablature at this link

Download Early Hours Tablature

The tune is played with the capo at the 3rd fret, but when talking about the notes we always assume there is no capo. The main theme of the tune based around the progression: C - Dm - Em. Note the first note of the 2nd measure has the arrow, indicating that the 5th fret is hammered directly with the left-hand finger.  The second time around the bass notes are played with normal pull-offs and hammers. Go lightly with these, or else you lose the delicacy of the tune.

Here is the opening theme tablature:

The next part of the tune starting on measure 9, uses fairly standard DADGAD fingerings. The low B is used on the bass quite often, while the melody plays around between D major and C major. There is an ambiguity there centering around the 3rd fret on the A strings. This note, being a C, suggests the C major scale, where the C# on the 4th fret, suggests the D major scale. While the 4th fret C# is never used, the other notes are used in a way you often hear with D major in DADGAD, up along the top D string 0,2,4,5 and 7th frets. And with the B on the bass, it feels like it really is D major. When it resolves though, it always ends up back in C major. These are ways to keep DADGAD fingerings from getting boring.

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