DADGAD tuning requires the third string raised one semitone from Open D tuning. This is the same G note used in standard tuning.
Option 1:
LOWER the sixth string so the 7th fret of the 6th string (A) is the same pitch as the open 5th string (A).
Option 2:
LOWER the sixth string so the 12th fret of the 6th string (D) is the same pitch as the open 4th string (D).
Option 1:
LOWER the second string so the 12th fret of the 5th string (A) is the same pitch as the open second string
Option 2:
LOWER the second string so the 2nd fret of the 3rd string (A) is the same pitch as the open second string.
Option 1:
LOWER the first string so the 12th fret of the 4th string (D) is the same pitch as the open first string.
Option 2:
LOWER the first string so the 5th fret of the 2nd string (D) is the same pitch as the open first string.
Here are the shapes of the D Major scale in DADGAD tuning, played in second position and harmonized in thirds.
Here is the same scale again, this time played with the fifth degree added on top, and a pedaled D bass note played on the off-beats. Notice that the C#B chord must be inverted when played in this position, and that the G note in that chord leads nicely down to the major third (F#) in the final D chord.
Experiment with chord inversions yourself and try to find little details such as this. They will help you navigate your way through open tunings (or any other tuning) and hopefully provide added interest.
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As with all tunings, it is important to develop a thorough understanding of scale patterns and chord shapes on the fretboard. The two previous exercises gave you the D Major scale in second position, now here it is again played as a linear pattern. Note, this pattern also applies to Open D tuning, Drop D tuning and standard tuning.
Here is that same linear pattern played in first inversion (with the third degree on the bottom). Inversions are handy when incorporating bass lines into your playing, especially when playing solo.
The following example introduces the concept of playing in tenths (the third is played one octave higher). Again, this is a useful technique when playing solo. When fingerpicking, it is recommended (but not essential) to play the melody of the song in the octave above that of the bass line, as demonstrated here. This leaves space for other chord tones and "colors" to sit between the bass line and the melody, and will also allow the melody to be heard clearly.
Notice the use of 3rds in this piece, along with hammer-ons and pull-offs.
This song uses open strings as both a drone function (bars 1-11) and a melodic function (bars 12 and 15). You’ll notice the drone ends when the picking pattern in bars 1-11 ends and the melody becomes more intricate. This is one way of creating interest when playing solo.
The picking pattern is then resumed and slightly altered in bars 17 - 21 as a way of recapitulating the original feel. The final bars serve as a crescendo with bar 25 making full use of open strings (punctuated by simple diad shapes). The following piece, Remember, is a good example of DADGAD tuning for its use of open strings, melodic contour, and simple two-note fingerings.
Many Irish folk songs translate well to DADGAD tuning. The following piece borrows from the well-known Danny Boy melody, and attempts to explore playing solo in DADGAD without the use of a consistent picking pattern.
Notice the melodic emphasis changes freely from upper register to lower register throughout. Play the piece freely and expressively. Find a melody that you like and apply it to an open tuning.
Take into account the relationship between high and low notes and you’ll discover many new things which will help your understanding of the tuning.