Tag Archives: Nashville tuning

Your Ghost – Kristin Hersh and Nashville tuning

To hear examples of Nashville tuning used outside a country context, have a listen to Hips and Makers and Strange Angels, the first two solo albums by Throwing Muses/50 Foot Wave singer-guitarist Kristin Hersh. Examples of Nashville-tuning parts are numerous on Strange Angels; you’ll have to hunt harder for them on Hips and Makers but they’re there (on Velvet Days and Teeth, at least, I think).

Reacquainting myself with Hips and Makers yesterday and today, I could kick myself for being so cloth-eared. Nashville tuning is as prevalent on that album as it is on Strange Angels.

I started listening to the album’s opening track, Your Ghost – a duet with Michael Stipe that is one of the best things Hersh has ever done – because I’m mixing a song with an arrangement of acoustic guitar, cello and two voices, and wanted to hear how they balanced Jane Scarpantoni’s cello against the vocals. I was surprised, then, to find that I’d never noticed previously that there is a second guitar on the track, mixed off to the right-hand side. It’s a Nashville-tuned strummed part that exactly duplicates the main rhythm track. On each chord change, Hersh plays two single notes (root, fifth, I assume) then strums the chord – the single notes of the Nashville-tuned part tend to get drowned out by the standard-tuned guitar, but I think she’s doubling the whole performance, not just the strummed chords.

It’s a nice detail, one for headphone listening, and creates a rich, enveloping acoustic guitar sound. I’m not sure if it was Hersh’s idea, or Lenny Kaye’s (Kaye was the producer), but according to Steve Rizzo, who was assistant engineer on Hips and Makers and is Hersh’s co-producer/engineer today, it’s something she still does:

“We’ve been using that on almost every solo record. A lot of people think she’s playing a 12-string, but what’s happening is it’s the 6-string and the Nashville [a Gibson J-45] played together. She can play the exact same thing from take to take so they sound like a 12-string, which is pretty cool. And sometimes it sounds very physical. Her hands can be so strong that it’s like, ‘How the hell is she playing that?’”

The key to it is the element Rizzo identifies: Hersh’s doubling of the parts is so tight that it does sound like a 12-string. When the two takes are panned down the middle, it’s impossible to tell that’s it’s two performances, not a single 12-string. But panning one of the parts off to the side, as on Your Ghost, creates a really cool effect that’s worth the effort it must take to create it.

Kristin Hersh – Nashville-tuned Gibson J-45 not pictured

Alternate tunings

I’m in recording mode at the moment, and thinking a lot about the use of acoustic guitar in recording, which is what prompted the post about Nashville tuning the other day.

Altered tunings are where I live as a guitarist. For the first few years after I discovered them, they felt like my secret thing. I became serious about songwriting and extending my range as an acoustic guitarist in the late 1990s. At the time, the biggest band in the UK was still Oasis, and Noel Gallagher took a decidedly meat-and-potatoes approach to the acoustic guitar: strummed open chords and barre chords all the way. Consequently, that’s how kids of my generation learned to play acoustic guitar. Gallagher and Cobain between them offered up 90% of what 90% of young guitarists wanted to know.

While some more adventurous electric players went down the prog/metal route to learn about the likes of Joe Satriani, Steve Vai and so on, young guitarists looking to learn about fingerpicking and alternate tunings had a harder time of it finding teaching materials. I can’t even remember where I first learned about using open tunings for fingerpicking rather than slide, but I do remember that the first songs I wrote in non-standard were in open G, and it would have coincided roughly with picking up my first Nick Drake album in 1999 or early 2000 (it was before I went to university in September 2000, I know that much). After finding alternate tunings, I felt a sort of ownership of them; easy, when no one else I knew used them, and few songwriters I ran into at open-mike nights did either.

But of course, it wasn’t just me learning about this stuff. For me, and I suspect many others at the same time, Nick Drake opened up a new world of tunings. The increased profile of his music that came as a result of the Volkswagen ad that used Pink Moon meant that he was now being discussed by mainstream guitar magazines (again, this was still an analogue world – in 1999, only 13% of UK households had an internet connection).

One of the first things I did when I got online was go to OLGA (the On-Line Guitar Archive – again, the hyphen in “online” tells you how long ago this was) and find a list of Nick Drake tunings and tabs (I was more interested in the tunings than the transcriptions themselves), which is where I came across tunings like CGCFCE.

Any Drake-loving guitarist will probably recognise that as the tuning he used on Pink Moon, Which Will, Parasite, Hazey Janes I and II, and Introduction, the instrumental that begins Bryter Layter.

It’s a lovely tuning for the keys of C, Am, Dm and F, and isn’t really very adaptable beyond that, but what’s nice about it is the range it spans: two octaves plus a major third, which is just about as much as is practical without having bass strings that are too floppy and treble strings that are too tight and liable to break.* The tuning works equally well on a twelve string, where the added octave strings make the range of the tuning even wider (two octaves plus a fifth).

The approach that Drake took on Pink Moon (and Place to Be, which uses a similar tuning with the B string tuned down to G rather than up to C) is to fret the lowest three strings and play the top three strings open: 222000, 555000 and so on – an approach that works equally well strumed or picked. In this tuning, those two shapes will give you a D minor and F respectively.

D minor, you say? But it’s got a G in it! And a C and an E! And no F! But that’s really the point of alternate tunings. You can create wide, harmonically extended chords that would be near-impossible to play in standard, and have fingers left over for melodic ornamentations. Purists who insist that no chord you can’t play fretted in standard tuning is worth playing (and that a capo is cheating, and similar nonsense) are dead wrong about this. And fortunately this kind of idiocy is rarer now than it was when I was 18, but you used to hear from a lot of people that open/altered tunings were Not Proper Guitar Playing.

Anyhow, in the context of Pink Moon (and Place to Be), the ear hears 222000 as a more-or-less minor chord built on the second degree of the scale. Which is to say, the ear hears D9sus4, as no minor third is present, but interprets it the chord as minor rather than major – closer to Dm9add13. The beautiful expressiveness of these kinds of chords – richly sonorous and full of harmonic ambiguity – is what made Drake’s guitar playing so influential, and what attracts so many of us to alternate tunings in the first place.

I picked up other tunings along the way, but these days I pretty much only use two, other than standard, to write in: DADEAD (or it’s step-down equivalent CGCFGC), which I learned as a variation of DADGAD, and CGDEAD, which I came to via open G, first tuning down the lowest string C to extend the bottom end, then tuning down the G string to E to facilitate minor keys and suspended seconds. Nowadays, CGDEAD is my de facto standard tuning if I’m playing acoustic, and I’ve found (and used) improbable voicings for chords that would make a classical guitar teacher wince, using my left thumb to fret as many as three strings.

Tunings are a rabbit hole for many a guitarist. I got pleasantly lost down mine nearly 20 years ago. I’m still down here, still burrowing.

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Don’t look now, classical guitar teachers: I’m coming to your town with chord shapes like this! [insert evil-laugh sound effect. Photo from my recent duo show with Mel at the Oasthouse Theatre, Rainham, Kent]

*Some sources list the tuning as DADGDF# (with the capo two frets lower, where used) but I find the idea that Drake routinely tuned his B string up to D and E to F# a little improbable.

High-strung fun; Nashville tuning

You’ve got to hand it to the guys and gals on Music Row. They know how to make records. They certainly know a thing or two about recording acoustic guitars. High-string tuning is so closely associated with the capital of country music that a majority of guitarists refer to it as Nashville tuning.

To reassure those of you who aren’t really down with endlessly retuning your instrument, Nashville tuning isn’t really an alternate tuning, per se; it’s more about the strings you actually put on your guitar. The tuning involves taking the four octave strings from a twelve-string (the E, A, D and G) and putting them on a regular six-string guitar. That gives you a guitar with only one wound string (the low E), and means the D and G strings will be higher in pitch than the B and E strings respectively, leaving you with a guitar that sounds jangly indeed. D’Addario and Martin both sell high-strung/Nashville tuning sets (10-27 and 10-25 respectively), and possibly other manufacturers do too*. All you need to do is maybe adjust the neck on your guitar. I have a spare acoustic I often Nasvhille-ise; saves a lot of hassle when, as now, I’m looking to add a few jangly touches to a nearly complete recording..

So what can you do with it?

I’m very fond of the massed – but unobtrusive – overdubbing of acoustic guitars. I love the tonal colours you get by blending tracks of different guitars, different tuned, and so routinely track two to four acoustic rhythm tracks of various types, with the aim of blending them together so it sounds essentially like one instrument, but with a richer sonority and wider frequency response than you get from a single track of one acoustic guitar.

Sometimes they’re all in standard tuning but I use a capo to play each track with different chord shapes (e.g. a song in E is played with open E shapes, and in D with a capo on the second fret, or C with a capo on the fourth). Sometimes it’s a mix of standard- and alternate-tuned performances. Sometimes it’s a mix of six- and 12-string guitars, and sometimes a Nashville-tuned part is in there, too. Adds a lovely shimmering brightness to a bed of acoustics.

But that’s just the easy stuff. If you don’t have access to a 12-string guitar but you want the effect on a recording, you can also try tightly doubling a six-string part in Nashville tuning to create an effect that’s very like a 12-string. Experiment with panning the parts  left and right in stereo as well as together down the middle for different effects.

If you’re really into making work for yourself, try doubling a fingerpicking part. If done perfectly and panned down the middle, voila, instant 12-string effect. And again, you can pan the parts off on opposite sides for a striking stereo effect.

To hear examples of Nasvhille tuning used outside a country context, have a listen to Hips and Makers and Strange Angels, the first two solo albums by Throwing Muses/50 Foot Wave singer-guitarist Kristin Hersh. Examples of Nashville-tuning parts are numerous on Strange Angels; you’ll have to hunt harder for them on Hips and Makers but they’re there (on Velvet Days and Teeth, at least, I think). Or for something a bit more mainstream, try Landslide by Fleetwood Mac. There’s a high-pitched fingerpicked part panned centrally, fairly low in the mix but audible between Stevie Nicks’s vocal lines. I’ve gone back and forth on whether it’s a 12-string or a Nashville-tuned six string, but the more I hear it, the more the thin-ness and clarity of the part suggests Nashville tuning to me.

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My old spare acoustic, Nashvillized

*When I bought a set of Martin 10-25s the other day, the dude in the shop told me he hasn’t been able to reorder them and thinks that Martin may have discontinued them. Nonetheless, you can still buy single strings of the appropriate gauge: to replicate the Martin set, you’d need the following gauges: E: 0.025; A: 0.017; D: 0.013; G: 0.008; B: 0.012; E: 0.010.

Twelve-string guitars, part four

‘But Mr Songsfromsodeep,’ I hear you say, ‘I don’t have a twelve-string guitar. Is there anything I can do to simulate one?’

Well, yes. There’s one thing.

Apologies to those who know this, since this is not in any way a new or innovative technique, but you can double a part played on a six-string guitar with the same part played on a guitar in Nashville tuning. Nashville tuning is when you take the four octave strings from a twelve-string (the low E, A, D and G) and put them on a regular six-string guitar. That means the D and G strings will be higher in pitch than the B and E strings, leaving you with a guitar that sounds jangly indeed. If you can tightly double the original six-string part on a recording, it will sound very like a twelve-string. D’Addario and Martin do a ‘high-strung/Nashville tuning’ set (10-27 and 10-25 respectively), and possibly other manufacturers do too.

You don’t need to present Nashville-tuned parts in this way, though. Try panning the two parts left and right to create a stereo version of the effect. To hear examples of both techniques, have a listen to Hips and Makers and Strange Angels, the first two solo albums by Throwing Muses/50 Foot Wave singer/guitarist Kristin Hersh. Examples of Nashville-tuning parts are numerous on Strange Angels; you’ll have to hunt harder for them on Hips and Makers but they’re there (on Velvet Days and Teeth, at least, I think).

You can also hear Nashville tuning on on many, many country records. Where’d you think the name came from?


Kristin Hersh, 2006 (Dina Douglass). Guitar probably not in Nashville tuning.