I thought you were going to talk about why the B string is always a pain to tune. I've had a few guitars and the B string on all never seemed to tune up as easily as the other strings.
This is what I think and it comes from being experienced in Japa Yoga, the yoga of the use of mantra. The Logos, also known as one of the bij [Sanskrit] 🕉[AUM or OM] resonates in the key of B. It is the sound that corresponds to the 6th chakra , the Ajna ,aka, the third eye. The five chakras below it have the corresponding sounds of [from the lowest chakra on up] Lam, Vam, Ram, Yam, Ham and then Aum, and thus the notes from the base, on up, are D,E,F,G,A and B. The C must then correspond to the Crown Chakra, but there is no word associated with it, at least not to my knowledge, but as it was the Logos that created everything in the beginning, then there's some reason that because it was in the note of B, in that beginning, there is some reason for this difficulty of getting in tune with that note. I heard from some source or another that our Sun is giving off the sound of AUM but that it is in a key of B that is so low that it is inaudible to the human ear. I can't say whether that is true or not, but thought that I'd put it in the mix here. You may find that the only useful application of what I just wrote is to chant the bij, , in the key of B, if you are going to use it in chanting. I'm not trained in music, I play by ear, but my friends that are, and have stringed instruments to play, all say that I'm a natural tuning fork. when there is no tuner around I'm often asked to find a key to start from and I almost always go for the key of B. So for me it's kind of the opposite. I can tune the B easily, it's the other damn strings that I have difficulty with getting them in sync with that B string.
The B string is hard to tune on acoustic guitars because for some damned reason, it needs to be longer than it is, a problem that can be solved only with a "compensated" saddle, which makes the B string longer than the strings on either side of it. If you want to play an acoustic guitar, you can eliminate the B string tuning problem simply by buying any of the full size Taylors, series 300 through 900. The Baby Taylors will still have the B string tuning problem. Decent electric guitars allow each string to be adjusted as to height and length, so any music store guitar-tech should be able to eliminate the B string tuning problem easily.
@@waltperry5781 Is really that simple? What about James Taylor’s tuning idea? Seems to me there’s always some nuance happening with tuning acoustic guitar!
@@vajrapani6474 that's possibly because there is a g major triad / chord in the open strings, if you look at the harmonic series (the name for all the notes contained in other notes but at differing lower volumes, which is the combination is what gives an instrument its inherent sound or 'timbre' (pronounced 'tamber') these notes (inside each note!) are all slightly off, now when i say 'off' that, in a way means, more in tune than western music aka 12TET but if we could play this way, you need varying versions of each note, as the intervals all shift as they change (go either, a bit flat or sharp) when the root changes, confusing lol, i am quite up on my theory and played for 37 years and this is, my perhaps, limited or slightly bad explanation! to clarify our major thirds are slightly sharp, minor thirds are flat, fifths are pretty close but a tiny bit flat, i went deep into this stuff in lock down! so yeah, also this is why lap slide guitars tuned to g are tuned thus.. d g d g b d, but they have the b string tuned slightly flat, meant to also say that when you play in harmonics, you are using this 'non western pure tones' part of the reason they sound so good.. it's also worth noting it's in blues, all over the place, in an a dominant blues i am always using a c slightly sharp (as a blues curl, you pull the note slightly sharp at the end of the regular note, people neglect to mention that last parts) and same with g to g slightly sharp as well as the normal g, c and c sharp! personaly i avoid only the f note so my 'scale' is i have heard it call the super blues scale? but i add the flat nine and these two altered ones 11 notes and these two 'off' ones = 13, i don't really think like that when playing though, micro tones and also micro timing are advanced techniques though for sure lol, i forgot i was going to say i heard that heart chakra is c sharp? is that vedic of something? oh and f slightly sharp is the resonant frequency of the main chamber of the great pyramid, and a healing tone apparently and the fastest of all sine waves, i learnt that from a book on developing perfect pitch in the 90's, they recommend listening to the tail end of a f sharp and and then an e flat which is the slowest, you sound like you must know this any way, i am close to perfect pitch now myself i think? i had a break through when i sang the note d upon waking one day, i also restrung a guitar and tuned it without playing the strings, just from feeling the tension only the other day, i was shocked as it was bang in, i don't restring often or have guitars that go out so it was weird, it works like that too, if you can get past the not knowing bit, its like your subconscious knows, maybe because of the infinite scale and muscle memory too, sorry if my reply is long! i found your comment interesting!
I found it far easier to find melodies with a mandolin because it’s tuned symmetrically. I would learn some theory on piano before beginning guitar. Hindsight . That was 1960. Things didn’t begin to make sense until the 90s.
Exploring the fretboard I recently figured out the guitar is really well-suited to Em or even ‘tuned’ to it, but I like the insight you provided on the relation to G there, which is the Key I have been most commonly experimenting in… validating as well as enlightening and encouraging. Thank you Sean for teaching me a lot of what I know.
I'm glad to hear this. Music needs more alternate tunings! I hear Keith Richards of rolling stones is a alternate tuning pioneer -not just standard & "drop" tunings.
Finally, in the video he made alternate tunings seem boring (eg. Straight Bar Chords). The opposite is true because the chord library opens up with bizarre/alternate tunings 😃
I don't know them that well, but great band, and Adrianne Lenker really has a vision writing and singing. Cattails, which is "crooked" (Old Time String Band parlance) was what buzzed me to them.
I will admit to wondering about the B string. Thanks for some interesting information. As always, I really enjoy your channel. I've learned a lot and laughed along the way. Hope you have a wonderful and blessed new year.
As a keyboardist, I've wondered why not tune the B string to C? Then the high E to F. All intervals of a 4th. Standard guitar tuning seems goofy to me.
Blues: when Mance Lipscomb sings "Goin' down slow", the line "well I done had my fun, Lord don't get well no more", he is almost crying as his voice slides up into "Lord don't get well no more". And at the end of that phrase, he just tails it off so the last couple notes are sliding down. That looseness with the notes tells a lot about the life experience of the person the song was written for. It's not Lipscomb's life per se, it's the broad story of life told in the blues. By the way, the story in the song is about a heroin user or heavy drinker. He "done had my fun" and now he "don't get well no more". The euphemism of getting well is about feeling good after taking a hit or a drink. He may still use but it doesn't make him feel good any more. Listen to the whole song as it is in a great blues style. Another example is Blind Willie Johnson in the song "You're gonna need somebody on your bond". And of course, Robert Johnson.
My six string bass is tuned in 4ths only. Which offers the advantage of being able to play all scale shapes with the same fingering all over the neck. B0 E1 A1 D3 G2 C3 And it has a two 8ve range on each string. I think it is pretty much standard for all six string bases.
Thanks for another great lesson. I never thought the B string was a bad thing ;-) I was wondering why we have not heard any Salty Blues Comments anymore.
The inner 3 strings g d b were originally a three stringed instrument tuned to an open chord G , this is why the b string . These three strings contain all the other major chords bar up the neck . The idea of adding the other strings in 4ths to make the six string instrument came later probably for the reasons you cited?
Or you could just watch videos and let other people ask questions and get the answers and then if anyone asks you' you can act like you knew the answer all along' then that way you wouldn't have to admit you don't know the answer and you wouldn't feel ashamed.
Just give that B string the middle finger! I had a guitar tuned to 4ths for a while. It makes triads have the same shape everywhere on the fretboard. So you only have 3 shapes, one for each inversion. Gets a little boring actually. You lose most open chords, but there are a couple you can play. Happy New Year, thanks for posting.
Brilliant! - I tuned into this video expecting some insight into why some folks say the B string never sounds quite right when you use a tuner (and then proceed to screw it up totally by attempting to tune it by ear) - but stumble on some great insights into the logic of standard tuning. I've just had a bit of a go at the JustinGuitar approach to starting guitar with a D chord so this video resonates with me. Why do guitar tutors not start with an Eminor chord??!! It's the easiest chord to play; it sounds great; it fits with ALL the open strings - because the guitar is tuned to Eminor pentatonic!! Simple logic....Thanks for your video and your natural talent in delivering the message Sean!
the best way to tune the G and B strings is to play open on G and 3rd fret B. It's the best compromise between the open positions and the most common positions (mostly up to 12th fret). That being said, having a better intonated guitar helps. I have an 07 strat that stays in tune fine if you don't abuse the whammy bar. Consistent from open to post 12 fret EDIT: important. I tune by ear, except for when I need the low E string to match standard
@@eric_james_music Yep - nice tip Eric; it's always my goto chord check after tuning - picking on a G chord with that added D on the 2nd string with a follow-up D chord for good measure. If anyone is still in doubt there's always that quick 5 frets slide up of the D shape to the higher G too.
@@Lowdenjim haha I also do the G chord trick. Also this might not work on every guitar but I usually tune by plucking open EA AD DG BE (then do the 3rd fret thing for the B and G)
Sorry Sean, you won't get a salty blues comment from me. You and StichMethod are my go to channels for music theory and have helped me improve massively over the last three years. Happy New Year!
You gotta know deep pain to play the blues. Come on up to Jersey with me and live on the streets for a few years, especially the winter. You'll be singing the blues with soul ...I promise
All I want in my playing is soul and more soul. Just an authentic trademark edge is all you need. Even if you play sloppy with soul, the real ones will still love to hear it.
My only experience with DAW software is Cakewalk, but it seems to have more capabilities than I'll ever be able to tap into and it's free. If you've ever tried that, how do you think it compare to other PC options?
Once I learned how to set intonation, recognize a 'bad' string, set string height, refine my fretting hand, and tune my guitar strings, I found this #2 string to be a myth.
A tuning I should Google to see who's talked about it is EABEBE. It's the tuning Jars of Clay used on their first record. The songbook that came out for that record didn't suggest retuning a guitar to it, but I guess the chord names suggested are probably correct?
Two octaves (16 notes) to spread across 6 strings. BUT, if you want to start and end on E, that's 15 notes on the first 5 strings, and the 6th string has to start on the 16th and last note of two octaves, which starting from E, is F. Something had to give.
The guitar apparently originated from the Arabic lute in Spain. The lute had a similar tuning but apparently the third interval G-B was on lower strings, I believe in the two lowest strings as F-A.
@matt_dylan3090 it is not guitar specific, happens on acoustics and electrics. if a string breaks on one of my several guitars it's always the b string. this was the longest time period without a string break. the only thing i can see given the variables is that possibly i play/use/bend the b string more. i also don't change strings unless i absolutelyhave to. so generally i'll change all the strings when i break the b. i play at least an hour a day,
that is weird, yes, like if you play low e, then miss two strings and pick the g string, then, do the same from the a to b string, then d to top e.. you have the scale!
Because you don’t even need a barre chord for Bm. I think we’re all cool with idea that 5ths matter the least in creating the real vibe of each chord? Root and 3rd are key and 7th (maj, min) sweetens or defines it more (Dom7). So Bm7 can be played as a cowboy chord too - for ease and open, ringing strings. B D A B (or D) Of course for power chords and diminished or augmented chords the 5th is vital
@@88_TROUBLE_88 Dominant 7th. A major chord with a flattened 7th. Twelve bar chords are all dominant 7 chords, E7, A7 B7 for instance. Where with a major 7th the 7th note is a semitone higher. Emaj7 or E [triangle] 7
@@88_TROUBLE_88 No worries. I have to make clear that no-one writes it out as Edom7. It’s just E7. In my original post I was using ‘dom7’ as shorthand for ‘dominant 7th’
You made a good case. The only guitarists I know who tune the whole guitar in 4ths are super-shredders who think almost entirely in patterns and want those patterns to be the same everywhere on the fretboard. One such player is Tom Quayle, who refers to himself as a fusion legato guitarist. His left hand is very fast, using hammer-ons and pull offs and his right hand only picks a fraction of those notes.
It's tuned that way for optimal chord hand shape. If it was perfect 4ths the B would be C and high E would be F. Try bar chording that. The premise is that the guitar is in E and can be changed by simply bar chording up the neck. The bar finger replacing the nut
Still learning. Thanks for the good vibes towards learning this crazy instrument. My attitude impacts my practice and knowledge retention so much. When I'm pissed off I play like crap but when I'm feeling good I play better, your teaching style always lightens the mood and helps me practice right, thanks for that!
I thought this video was going to be about why the sound of the B string (open, so B, but also any other note on that string) always sounds weird/off. As if there's something wrong with it compared to the other strings. Again, in terms of sound. But now that I'm thinking about it, maybe also in terms of how it feels on your fingers to play anywhere on the B string. I've noticed this on every guitar I've played on so it can't be a problem of my guitar. Anyone else notices this as well?
Try tuning your B string 2-3 cents flat. EVH did this. James Taylor did something similar. Gotta use your ear. Most tuners can't differentiate 2 cents from 0 cents, but there you go. Tuning pure 4ths, B>C, E>F is untenable. That easy enough for anyone whose played for a while to understand. Both chords and scales would be more difficult to get under your fingers, even if they'd be easier to visualize perhaps. G/Em is a great key for male vocalists because that major third (G) is in an easy range. Female vocalists won't have a problem but can also capo up, play in C. It's just a great key for most vocalists.
Chords, and especially scales are much, MUCH easier in all fourths. The thing is to stop trying to play standard tuning chords on P4 and then say “see!? See!? It doesn’t work!”
The B string shift is what makes a guitar a guitar. You can play a simple triad on all six strings, and double up certain notes for flavor. If you don’t appreciate this hypothesis, perhaps you focus on lead.
An A-shape is really an E-shape, only compensated. Same with a D shape. Tune your guitar in perfect 4ths for a week and everything will fall into place! (but you'll go running back to standard tuning).
I'm getting ready to tune in 7ths or 9ths, I have a pretty good reach and I started using 7 string guitars to expand the palette a bit but it occurs to me that on the shorter scale guitars it would be possible for me to span five, seven, or more on a stretch - then I was like well why don't we just tune them a little further away from each other and then I'll end up with maybe the range of a 7 or 8 string in the footprint of a 6 or 7. I've just been hesitant to start on that journey - I need to be in better shape than I am for the amount of actual physical work that's going to be entailed in revoicing everything I might want to try to play...
A 7ths or 9ths tuning would be literally impossible. You can’t even tune full fifths on a six string, if you start with a low C. Look up New Standard Tuning. It tops out at a G above E because very few string makers can make a high B string. Only one to my knowledge, and the guitar has to be set up perfectly and the string tuned up over the course of hours.
@@procarpenter1788 yeah homey doesn't know what he's talking about or is confusing frets with intervals. New Standard is wildly unpopular for a reason... standard is pretty good
I've played guitar for about 10 years now, I've only sat in on two guitar lessons so far, and I would say I can play pretty well. I've watched your video, I will say that you lost me on some of the more music theory driven aspects. My take away from your video is that in relation to chords the B string can be tricky and that when doing lead work one should compensate for the B string. Again, I am not classically trained in music, I learned what I know from ear, tabs and youtube videos of various songs I've wanted to learn over the years. I can tell that you are well versed in theory and I chuckled at the "salty blues comment" So allow me to say; You are not giving the B string any justice. The B string is a very instrumental part of blues on the guitar. If you were to go back and listen to Albert Collins, Howlin Wolf, BB King, Hendrix, SRV (Done Lost your Good Thing Now live from 1981 pops into my mind for this. The way Early Stevie played is a tad different from the way he played after 1984) You would find that those artists' lead solo work often used the B string in a variety of ways. Hendrix would use it in tandem (or by itself) with the High E to create the sounds of bombs, planes and screaming. BB has his box where your phrasing is what matters. I think you missed the mark on the B string. A wise and experienced guitar tech once told me "It's not what you see, it's what you hear"
Till now my argument for the B string is that the guitar is like a beautiful woman and the B string is there to stop you getting complacent. Actually an enjoyable and thought provoking lesson.
Awesome explainer. I just thought it made sense to have the highest and lowest strings being E and getting it dialed in as close as possible with the cycle of 5ths.
PS also the normal ukulele has the second string on third instead of fourth (… just all strings five half tones higher … (fourth string usually adding one octave =high G, else in low G)
Sean Daniel is brilliant. He is so vigorous and entertaining in this video and many of his other videos, it's hard to imagine how much fun he would be at a party. I think most of those clicking on this video expected to hear why the B string is hard to tune, which is an issue of string length that is solved easily on electric guitars, but is much more problematic on acoustics, where it is solved only by a "compensated" saddle. But here, Sean Daniel launches into highly sophisticated music theory, which he handles very competently. Thank goodness we don't have to know that stuff to play pretty well, happily accompanying our vocals with "cowboy" chords.
so he said standard tunning is the key of e minor pentatonic or g major pentatonic "the greatest hit of the cowboy keys c d g!" dadgad is way more fun kept wanting him to finger c and f when explaining what if the guitar is tunned all in fourths
I actually prefer bass in drop tuning and guitar in a standard tuning. Yes, even while playing together. In fact, especially when playing together. Drop D seems to be a beginner trademark, and a lot of metal bands with no distinguished sound love to flock to ridiculously low, drop tuning. to be like everyone else, but don't get me wrong, there are some exceptional musicians who utilize drop d as well as some good riffs. I just don't think it's fun to use any tuning exclusively.
The use of terms 4th and 5th's are crippling. Western Music is based on the number 12, it's better to count the chromatic scales. Take the bottom string as 0 then the strings would be 0,5,10,15,20,25. Twenty five in not divisible by 12 so the guitar lowered the B string by 1, yielding 0,5,10,15,(19),24. 🤷 All the benefits exist from there.
Is there something inherently negative about being a salty old blues man? I rode my horse to piano lessons, and I played drums in an all black (except for me) Baptist church. I have paid my dues, have you?
Additionally you can never get the 'B' string in tune. If it is open and in tune, when you fret the 2nd fret or the C# note on the 'B' string, you will find it is sharp. Tune the 'C'# correct and the open 'B' is flat... go figure.
@@stevem.1853 Agreed. But every guitar I try from high end Taylors, to my McPherson Black Pearl OM have the same issue. They all can't be nutz can they?
@@jjjtttggg Thank-you for your comment. I have found this to be true with every guitar I play (Acoustic) whether my custom McPherson Black Pearl, or High end Taylors on the music store. James Taylor came up with a tuning strategy that flattens slightly each string a certain amount of 'cents' that helps greatly but you really need a high precision tuner to get the pitches exactly correct.
Please excuse guitar teacher snobbery here. When he fingers through a bunch of open chords, notice how far his fingertips are from the frets. Fretting a string as close to a fret as possible allows you to play clear notes without squeezing - that's the main reason beginners complain about sore fingertips. There are many, many more reasons to finger notes correctly, but I'll leave it with that for now. Play the guitar, don't confront it!
Huh. And all this time I thought standard tuning was devised by some drunken monkey. Now, to develop your "blues soul", I'm here to help. First, drugs. You gotta get hooked on some serious drug, like meth or maybe crack. Then, you need a toxic relationship with some girl that just uses you, steals your drugs, sleeps with at least two of your friends, etc., until things get so bad you eventually just bail, leave everything you know and move to another state. Hitchhike if you can, but a Greyhound bus is acceptable. Now, kick your drug addiction with hard liquor. Just drink. Drink first thing in the morning. Drink like that for months, until your handwriting gets shaky. So, now. NOW you're ready to write your blues tunes! Won't be able to actually play them until you get out of rehab, but by God. NOW, you're a Bluesman. You're welcome.
