esus vs. dadgad tuning

15
TUNING OPEN STRINGS Esus vs. DADGAD Tuning E A D G B E E B E A B E A Shubb c7b capo forming the Esus configuration in standard tuning. Esus (usually pronounced “E-suss”) is short for “ E-Suspended, ” the chord formed by the partial capo. I pioneered this in about 1980, and it has become the most common standard tuning partial capo configuration. It generates an “open-tuned” sound that is often confused with DADGAD tuning. (Eric Schoenberg whimsically called it “Faux-Gad” tuning.) I have included this section in the book, in case you are a DADGAD player who has never tried the Esus capo in standard tuning, and to help dispel the confusion that surrounds this issue. Hopefully this will clarify some of the misunderstandings about the similarities and differences of the two “tunings,” and entice some DADGAD players who have not tried Esus to give it a try, and vice versa. The two environments are not at all the same, and both have equal but different value. There is a lot of confusion among players of all levels about the differences and similarities between DADGAD tuning and an Esus capo. Two of the makers of Esus capos even call it a “DADGAD capo” which is quite misleading. In DADGAD, strings 1, 2 and 6 are lowered 2 frets from standard tuning. With an Esus capo, the other 3 strings are raised by 2 frets. The kinds of sounds that are available are similar, and each approach gives a similar set of new drone strings, but new chord fingerings and voicings above the capo. Partial capos are used for the same reasons as new tunings: to change the landscape of possibilities on the fingerboard. It is vital to realize that a tuning is quite different from a partial capo, and the specifics of what scales, notes, chords you can play are completely different, since the guitar is not tuned the same in both situations, and only seems to be. Only things you play on only strings 1-2-6 will finger the same. The Esus environment lets you combine standard tuning chord and scale patterns with your new set of open strings, and you always retain the option of playing closed-position scales or barre chords above the capo. You also can choose to sound like an open tuning, or to sound like standard tuning, and in the same song you can go in an out of an open-tuning sound. It is not really an option in DADGAD tuning to sound like standard tuning. This is an excerpt from the first edition of Capo Voodoo- Book 8: “The BIG BOOK of Partial Capos” by Harvey Reid (©2020 / published by Woodpecker Multimedia)

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Page 1: Esus vs. DADGAD Tuning

TUNING

OPEN STRINGS

Esus vs. DADGAD Tuning

E A D G B E

E B E A B E

A Shubb c7b capo forming the Esus con� guration in standard tuning.

Esus (usually pronounced “E-suss”) is short for “E-Suspended,” the chord formed by the partial capo. I pioneered this in about 1980, and it has become the most common standard tuning partial capo confi guration. It generates an “open-tuned” sound that is often confused with DADGAD tuning. (Eric Schoenberg whimsically called it “Faux-Gad” tuning.) I have included this section in the book, in case you are a DADGAD player who has never tried the Esus capo in standard tuning, and to help dispel the confusion that surrounds this issue. Hopefully this will clarify some of the misunderstandings about the similarities and differences of the two “tunings,” and entice some DADGAD players who have not tried Esus to give it a try, and vice versa. The two environments are not at all the same, and both have equal but different value.

There is a lot of confusion among players of all levels about the differences and similarities between DADGAD tuning and an Esus capo. Two of the makers of Esus capos even call it a “DADGAD capo” which is quite

misleading. In DADGAD, strings 1, 2 and 6 are lowered 2 frets from standard tuning. With an Esus capo, the other 3 strings are raised by 2 frets. The kinds of sounds that are available are similar, and each approach gives a similar set of new drone strings, but new chord fi ngerings and voicings above the capo.

Partial capos are used for the same reasons as new tunings: to change the landscape of possibilities on the fi ngerboard. It is vital to realize that a tuning is quite different from a partial capo, and the specifi cs of what scales, notes, chords you can play are completely different, since the guitar is not tuned the same in both situations, and only seems to be. Only things you play on only strings 1-2-6 will fi nger the same.

The Esus environment lets you combine standard tuning chord and scale patterns with your new set of open strings, and you always retain the option of playing closed-position scales or barre chords above the capo. You also can choose to sound like an open tuning, or to sound like standard tuning, and in the same song you can go in an out of an open-tuning sound. It is not really an option in DADGAD tuning to sound like standard tuning.

This is an excerpt from the first edition of

Capo Voodoo- Book 8: “The BIG BOOK of Partial Capos”

by Harvey Reid(©2020 / published by Woodpecker Multimedia)

Page 2: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p. 1Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Very important Very important Very important Very important Very important Very important & useful chord! & useful chord! & useful chord! & useful chord! & useful chord! & useful chord! Can’t be played Can’t be played Can’t be played Can’t be played Can’t be played with a universal with a universal with a universal with a universal with a universal capo.capo.capo.

Don’t miss this note

Page 3: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p. 2Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 4: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p. 3Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 5: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p. 4Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 6: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p. 5Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 7: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p. 6Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 8: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p. 7Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 9: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p. 8Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 10: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p. 9Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 11: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p.10Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 12: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p.11Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 13: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p.12Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 14: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p.13Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Page 15: Esus vs. DADGAD Tuning

Comparison of Esus chords to DADGAD Tuning p.14Esus chords with partial capo are shown on a standard-guitar tuned down 2 frets to D-G-C-F-A-D

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Esus has one distinct disadvantage, which is that very little traditional music is played in the key of E. D is a very crucial key for both guitarists and singers, especially those who play along with fiddles, mandolins, dulcimers and other traditional instruments. If the key of D is essential for you, try using heavier-gauge (such as medium) string and tune the whole guitar down 2 frets, which will also give you the slack-string tone that is such a part of the DADGAD sound. Your other option is to get a baritone guitar, many of which have scale lengths that are exactly 2 frets longer than a regular guitar. You could then capo 2 and be at standard pitch, and when you play Esus capo music you will be pitched the same as DADGAD tuning.

E s u s C A P O V s . D A D G A D T u N I N G