Chords for Learn guitar DADGAD Alternate tuning & theory with Laurence Juber
Tempo:
132.6 bpm
Chords used:
D
G
A
E
Bm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] [E] [G] [Eb]
[E]
Strangely enough for a DAGAD project here, I'm actually starting in standard tuning and I have a reason for doing that.
We're going to start, here's your bottom E in standard tuning, tuning it down a whole [Eb] step.
[D]
Now it's a D, one whole step.
That's the equivalent on the fingerboard of two frets.
[Eb] [Em] I go up two frets, I'm now back [D] to an E.
So what I'd like you to do is just tune that string down and then compare [E] the notes on that string with those on the fourth string, which is very familiar territory.
Here's your fourth string, [G] [E] [D]
play that same pattern on the bottom string [Gb]
[Gb] and [E] [D] you can hear it's just one octave lower.
Same fingering, one octave lower.
So nothing unfamiliar about that.
It's familiar territory.
[G] Now we're going [D] to take the top string, [E] the E, [D]
and we're going to tune that down to a D also.
And now you'll also notice the fingering is the same.
[G] [E] [G] [E] [D]
So three D strings in DAGAD tuning.
[Ab]
Then we take the second string, the B string, [Bb] [A]
tune that down a whole step.
And now the tuning of that is the same as the fifth string.
So anything that I finger [Bm]
on [A] the second string [Bm] [A] is the same, but an octave lower on the fifth string.
So now we have three D [D] strings, D, D, D, two A [A] strings, [Fm] and the G, the third string, [G] hasn't changed.
In fact, we haven't touched the fifth, fourth, or third strings.
[D] So in many respects, the individual string fingerings in DAGAD are already familiar territory.
Anything on the top string or the bottom string is fingered the same as you would normally do on the fourth string, because those are all Ds.
On the second string, everything is the same as it is on the fifth string in standard tuning, because those are both A strings.
And the G string hasn't changed.
So just to get a little familiar [G] [D] with the sound of DAGAD, why don't we just pick across the strings.
[G]
[D]
And you'll notice that if [G] you treat this as an open chord, this is [D] a Dsus chord, because you have a D.
You have the ingredients of a D triad, but instead of having an F sharp as a major third, [G] you have the fourth, which is [D] the sus4.
So just to strum the open strings gives you a sus4 [F] chord.
[G] If you bar up the neck, for example, the fifth fret, [C] now you have a G [D] sus4, the seventh, an A [G] sus4,
twelfth with the harmonics, I'm doing another D [Gm] sus4.
So the openness of the tuning has a suspended feel to it.
And there is a very, very useful and musical thing that happens, which is that you have a G and an A as adjacent scale tones.
They're both open strings.
So here's my G, [A] here's my A.
And this quality [B] becomes very useful.
[G] Let's say, for example, we're going to construct a scale of D.
[Em] [G] You'll notice that you have two of [Bb] those scale tones that are on [D] open strings.
[Bm] D, E, F sharp, and now we [G] have the G and we have the [D] A, both open strings.
Now, you'll notice [Gb] then that F [G] sharp, G, [A] and A, adjacent [Gbm] scale tones, [Am] adjacent strings.
If I then add, for example, an E to [E] that, [Gb] [A] I have four [G] adjacent scale tones.
And then let me say, play the open fourth string as [D] the D.
So there's a [E] D, E, [Bb] F sharp, [G] G, [A] A.
[D]
[A]
[D]
Now, if I continue going up the scale, [A] [Bm]
[D]
what I did there was I added a [B] B, a [Db] C sharp, and a D.
[D]
So up and down the [G] scale, [Bm]
[D]
very characteristic sound in [G] dagad tuning.
This kind of [N] cascading, cross-fingered pattern is very typical of the way that you can use the tuning to gain extra sustain in the melodic passages that you might play.
[A] [Em] [E]
[E]
Strangely enough for a DAGAD project here, I'm actually starting in standard tuning and I have a reason for doing that.
We're going to start, here's your bottom E in standard tuning, tuning it down a whole [Eb] step.
[D]
Now it's a D, one whole step.
That's the equivalent on the fingerboard of two frets.
[Eb] [Em] I go up two frets, I'm now back [D] to an E.
So what I'd like you to do is just tune that string down and then compare [E] the notes on that string with those on the fourth string, which is very familiar territory.
Here's your fourth string, [G] [E] [D]
play that same pattern on the bottom string [Gb]
[Gb] and [E] [D] you can hear it's just one octave lower.
Same fingering, one octave lower.
So nothing unfamiliar about that.
It's familiar territory.
[G] Now we're going [D] to take the top string, [E] the E, [D]
and we're going to tune that down to a D also.
And now you'll also notice the fingering is the same.
[G] [E] [G] [E] [D]
So three D strings in DAGAD tuning.
[Ab]
Then we take the second string, the B string, [Bb] [A]
tune that down a whole step.
And now the tuning of that is the same as the fifth string.
So anything that I finger [Bm]
on [A] the second string [Bm] [A] is the same, but an octave lower on the fifth string.
So now we have three D [D] strings, D, D, D, two A [A] strings, [Fm] and the G, the third string, [G] hasn't changed.
In fact, we haven't touched the fifth, fourth, or third strings.
[D] So in many respects, the individual string fingerings in DAGAD are already familiar territory.
Anything on the top string or the bottom string is fingered the same as you would normally do on the fourth string, because those are all Ds.
On the second string, everything is the same as it is on the fifth string in standard tuning, because those are both A strings.
And the G string hasn't changed.
So just to get a little familiar [G] [D] with the sound of DAGAD, why don't we just pick across the strings.
[G]
[D]
And you'll notice that if [G] you treat this as an open chord, this is [D] a Dsus chord, because you have a D.
You have the ingredients of a D triad, but instead of having an F sharp as a major third, [G] you have the fourth, which is [D] the sus4.
So just to strum the open strings gives you a sus4 [F] chord.
[G] If you bar up the neck, for example, the fifth fret, [C] now you have a G [D] sus4, the seventh, an A [G] sus4,
twelfth with the harmonics, I'm doing another D [Gm] sus4.
So the openness of the tuning has a suspended feel to it.
And there is a very, very useful and musical thing that happens, which is that you have a G and an A as adjacent scale tones.
They're both open strings.
So here's my G, [A] here's my A.
And this quality [B] becomes very useful.
[G] Let's say, for example, we're going to construct a scale of D.
[Em] [G] You'll notice that you have two of [Bb] those scale tones that are on [D] open strings.
[Bm] D, E, F sharp, and now we [G] have the G and we have the [D] A, both open strings.
Now, you'll notice [Gb] then that F [G] sharp, G, [A] and A, adjacent [Gbm] scale tones, [Am] adjacent strings.
If I then add, for example, an E to [E] that, [Gb] [A] I have four [G] adjacent scale tones.
And then let me say, play the open fourth string as [D] the D.
So there's a [E] D, E, [Bb] F sharp, [G] G, [A] A.
[D]
[A]
[D]
Now, if I continue going up the scale, [A] [Bm]
[D]
what I did there was I added a [B] B, a [Db] C sharp, and a D.
[D]
So up and down the [G] scale, [Bm]
[D]
very characteristic sound in [G] dagad tuning.
This kind of [N] cascading, cross-fingered pattern is very typical of the way that you can use the tuning to gain extra sustain in the melodic passages that you might play.
[A] [Em] [E]
Key:
D
G
A
E
Bm
D
G
A
[A] _ _ _ [E] _ [G] _ _ _ [Eb] _
_ [E] _ _ _ _ _ _ _
_ _ _ _ _ _ Strangely enough for a DAGAD _ _ project here, I'm actually starting in standard tuning and I have a reason for doing that.
We're going to start, here's your bottom E in standard tuning, _ tuning it down a whole [Eb] step.
[D] _ _ _
_ _ Now it's a D, one whole step.
That's the equivalent on the fingerboard of two frets.
[Eb] _ [Em] I go up two frets, I'm now back [D] to an E. _
So what I'd like you to do is just tune that string down _ _ and then compare _ [E] the notes on that string with those on the fourth string, which is very familiar territory.
Here's your fourth string, [G] _ _ [E] _ [D] _ _ _
play that same pattern on the bottom string [Gb] _
[Gb] and [E] _ [D] _ _ _ you can hear it's just one octave lower.
Same fingering, one octave lower.
So _ nothing unfamiliar about that.
It's familiar territory.
[G] _ _ _ Now we're going [D] to take the top string, [E] the E, [D] _ _ _
_ _ _ _ and we're going to tune that down to a D also.
_ _ And now you'll also notice the fingering is the same. _ _ _ _
[G] _ [E] _ _ _ [G] _ [E] _ [D] _
So three D strings in DAGAD tuning.
[Ab] _
_ _ Then we take the second string, the B string, [Bb] _ [A] _ _ _
_ _ tune that down a whole step. _
And now the tuning of that is the same _ as the fifth string.
_ So anything that I finger [Bm] _
on [A] _ _ _ the second string [Bm] _ _ [A] _ _ is the same, but an octave lower on the fifth string.
So now _ we have _ three D [D] strings, D, D, D, two A [A] strings, [Fm] and the G, the third string, [G] hasn't changed.
In fact, we haven't touched the fifth, fourth, or third strings. _
_ [D] So _ in many respects, the individual string fingerings in DAGAD are already familiar territory. _ _
Anything on the top string or the bottom string is fingered the same as you would normally do on the fourth string, because those are all Ds.
On the second string, everything is the same as it is on the fifth string in standard tuning, because those are both A strings.
And the G string hasn't changed.
So just to get a little familiar [G] _ _ [D] _ _ with _ the sound of DAGAD, _ _ _ why don't we just pick across the strings. _ _ _
_ _ _ _ _ [G] _ _ _
[D] _ _ _ _ _ _ _
And you'll notice that if [G] you treat this as an open chord, this is [D] a Dsus chord, because you have a D. _
You have the ingredients of a D triad, but instead of having an F sharp _ as a major third, [G] _ _ you have the fourth, _ which is [D] the sus4.
_ _ So just to strum the open strings gives you a sus4 [F] chord.
_ [G] If you bar up the neck, for example, the fifth fret, [C] _ now you have a G [D] sus4, the seventh, an A [G] sus4, _ _ _
_ _ twelfth with the harmonics, I'm doing another D [Gm] sus4.
So the openness of the tuning has a suspended feel to it.
_ And there is a _ _ very, very useful and musical thing that happens, which is that you have a G and an A as adjacent scale tones.
They're both open strings.
So here's my G, [A] here's my A.
_ And this _ quality [B] becomes very useful.
[G] Let's say, for example, we're going to construct a scale of D. _ _ _
_ _ _ [Em] _ [G] _ You'll notice _ that you have two of [Bb] those scale tones that are on [D] open strings.
[Bm] D, E, F sharp, and now we [G] have the G and we have the [D] A, _ both open strings.
Now, _ you'll notice [Gb] then that F [G] sharp, G, [A] and A, adjacent [Gbm] scale tones, _ _ [Am] adjacent strings.
If I then add, for example, an E to [E] that, [Gb] _ [A] _ _ _ _ _ I have four [G] adjacent scale tones.
And then let me say, play the open fourth string as [D] the D. _
So there's a [E] D, E, [Bb] F sharp, [G] G, [A] A.
_ _ [D] _
_ [A] _ _ _ _ _ _ _
_ _ _ _ _ _ [D] _
Now, if I continue going up the scale, _ [A] _ [Bm] _
_ _ _ [D] _ _ _ _
what I did there was I added a [B] B, _ _ a [Db] C sharp, and a D.
[D] _ _
So up and down the [G] scale, _ [Bm] _ _
_ _ _ _ _ _ [D] _ _
_ _ _ _ very characteristic sound in [G] dagad tuning.
This kind of [N] cascading, cross-fingered pattern is very typical of the way that you can use the tuning to gain extra sustain _ _ in the _ _ melodic _ _ passages that you might play.
_ [A] _ _ _ _ [Em] _ _ _ _ _ [E] _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ _ _ _ _ _
_ _ _ _ _ _ Strangely enough for a DAGAD _ _ project here, I'm actually starting in standard tuning and I have a reason for doing that.
We're going to start, here's your bottom E in standard tuning, _ tuning it down a whole [Eb] step.
[D] _ _ _
_ _ Now it's a D, one whole step.
That's the equivalent on the fingerboard of two frets.
[Eb] _ [Em] I go up two frets, I'm now back [D] to an E. _
So what I'd like you to do is just tune that string down _ _ and then compare _ [E] the notes on that string with those on the fourth string, which is very familiar territory.
Here's your fourth string, [G] _ _ [E] _ [D] _ _ _
play that same pattern on the bottom string [Gb] _
[Gb] and [E] _ [D] _ _ _ you can hear it's just one octave lower.
Same fingering, one octave lower.
So _ nothing unfamiliar about that.
It's familiar territory.
[G] _ _ _ Now we're going [D] to take the top string, [E] the E, [D] _ _ _
_ _ _ _ and we're going to tune that down to a D also.
_ _ And now you'll also notice the fingering is the same. _ _ _ _
[G] _ [E] _ _ _ [G] _ [E] _ [D] _
So three D strings in DAGAD tuning.
[Ab] _
_ _ Then we take the second string, the B string, [Bb] _ [A] _ _ _
_ _ tune that down a whole step. _
And now the tuning of that is the same _ as the fifth string.
_ So anything that I finger [Bm] _
on [A] _ _ _ the second string [Bm] _ _ [A] _ _ is the same, but an octave lower on the fifth string.
So now _ we have _ three D [D] strings, D, D, D, two A [A] strings, [Fm] and the G, the third string, [G] hasn't changed.
In fact, we haven't touched the fifth, fourth, or third strings. _
_ [D] So _ in many respects, the individual string fingerings in DAGAD are already familiar territory. _ _
Anything on the top string or the bottom string is fingered the same as you would normally do on the fourth string, because those are all Ds.
On the second string, everything is the same as it is on the fifth string in standard tuning, because those are both A strings.
And the G string hasn't changed.
So just to get a little familiar [G] _ _ [D] _ _ with _ the sound of DAGAD, _ _ _ why don't we just pick across the strings. _ _ _
_ _ _ _ _ [G] _ _ _
[D] _ _ _ _ _ _ _
And you'll notice that if [G] you treat this as an open chord, this is [D] a Dsus chord, because you have a D. _
You have the ingredients of a D triad, but instead of having an F sharp _ as a major third, [G] _ _ you have the fourth, _ which is [D] the sus4.
_ _ So just to strum the open strings gives you a sus4 [F] chord.
_ [G] If you bar up the neck, for example, the fifth fret, [C] _ now you have a G [D] sus4, the seventh, an A [G] sus4, _ _ _
_ _ twelfth with the harmonics, I'm doing another D [Gm] sus4.
So the openness of the tuning has a suspended feel to it.
_ And there is a _ _ very, very useful and musical thing that happens, which is that you have a G and an A as adjacent scale tones.
They're both open strings.
So here's my G, [A] here's my A.
_ And this _ quality [B] becomes very useful.
[G] Let's say, for example, we're going to construct a scale of D. _ _ _
_ _ _ [Em] _ [G] _ You'll notice _ that you have two of [Bb] those scale tones that are on [D] open strings.
[Bm] D, E, F sharp, and now we [G] have the G and we have the [D] A, _ both open strings.
Now, _ you'll notice [Gb] then that F [G] sharp, G, [A] and A, adjacent [Gbm] scale tones, _ _ [Am] adjacent strings.
If I then add, for example, an E to [E] that, [Gb] _ [A] _ _ _ _ _ I have four [G] adjacent scale tones.
And then let me say, play the open fourth string as [D] the D. _
So there's a [E] D, E, [Bb] F sharp, [G] G, [A] A.
_ _ [D] _
_ [A] _ _ _ _ _ _ _
_ _ _ _ _ _ [D] _
Now, if I continue going up the scale, _ [A] _ [Bm] _
_ _ _ [D] _ _ _ _
what I did there was I added a [B] B, _ _ a [Db] C sharp, and a D.
[D] _ _
So up and down the [G] scale, _ [Bm] _ _
_ _ _ _ _ _ [D] _ _
_ _ _ _ very characteristic sound in [G] dagad tuning.
This kind of [N] cascading, cross-fingered pattern is very typical of the way that you can use the tuning to gain extra sustain _ _ in the _ _ melodic _ _ passages that you might play.
_ [A] _ _ _ _ [Em] _ _ _ _ _ [E] _ _ _
_ _ _ _ _ _ _ _