Chord charts for instruments tuned in fifths

All_¥our_Bass · 04-12-2012, 02:11 PM

I didn't know if I should put this in "Standard Guitars" or "ERG" but since tuning in fifths adds extra range and isn't considered a "normal" tuning I put it here.
Mods, feel free to move this if you think the isn't the correct place.

Only have maj,min,sus2,and sus4 at the moment-gotta type up the other ones, I know what most of them are by heart but it takes a bit to "write" them out.
So here's at least something to look at in the meantime

each | | represent the space between two frets

the large blocks mean to "fret these areas via barring"
small blocks are for fretting with a single finger

'Xed' areas means "mute these/don't play these"

These can be used all over the fretboard as long as you have enough strings and frets available.

These are written with the lowest pitch on the bottom of each diagram and the highest pitch on top. (as if you were looking at your fretboard as you were playing, like tab)

Code:

Major

|█| |■| Maj3
|█| | | P5
|█| | | R


|█|█| P5
|█|█| R
|█| | Maj3


| | | |■| P5
|x|x|x|x| 
| | |■| | Maj3
|x|x|x|x| 
|■| | | | R


|█| | |■| R
|█| |■| | Maj3
|█| | | | P5
|█| | | | R


|█| | |■| P5 
|█| | |■| R
|█| |■| | Maj3
|█| | | | P5
|█| | | | R

|█| | | | Maj3
|█| | |■| R
|█| |■| | Maj3
|█| | | | P5
|█| | | | R

|█| | | | Maj3
|x|x|x|x|
|x|x|x|x|
|█| | | | P5
|█| | | | R

===========================================

Minor

|█|■| Min3
|█| | P5
|█| | R


|█| |█| P5
|█| |█| R
|█| | | Min3


| | | |■| P5
|x|x|x|x| 
| |■| | | Min3
|x|x|x|x| 
|■| | | | R


|█| | |■| R
|█|■| | | Min3
|█| | | | P5
|█| | | | R


|█| | |■| P5 
|█| | |■| R
|█|■| | | Min3
|█| | | | P5
|█| | | | R

===========================================

Sus2 / Power chord with added major 9th (5add9)

|█| maj2/9
|█| P5
|█| R


|█| | |█| P5
|█| | |█| R
|█| | | | Maj2/9


| | | |■| P5
|x|x|x|x| 
|■| | | | Maj2/9
|x|x|x|x| 
|■| | | | R


|█| | |■| R
|█| | | | Maj2/9
|█| | | | P5
|█| | | | R


|█| | |█| P5 
|█| | |█| R
|█| | | | Maj2/9
|█| | | | P5
|█| | | | R

|█| | |█| Maj2/9
|█| | |█| P5 
|█| | |█| R
|█| | | | Maj2/9
|█| | | | P5
|█| | | | R

===========================================

Sus4 / Power chord with added Perfect 4th (5add4)

| | | |■| P4
|█| | | | P5
|█| | | | R


|█| | |■| P4
|█| | | | P5
|█| | | | R


| | | |■| P4
|■| | | | P5
|x|x|x|x|
|x|x|x|x|
| | |■| | R


|█| | | | P5
|█| | | | R
|█| | | | P4
| | |■| | R


| | | |█| R
| | | |█| P4
|█| | | | P5
|█| | | | R


| | | |█| P5
| | | |█| R 
| | | |█| P4
|x|x|x|x| 
|■| | | | R


|█| | |█| P5 
|█| | |█| R
|█| | |█| P4
|█| | | | P5
|█| | | | R

vansinn · 04-12-2012, 03:55 PM

Sexy. At first I didn't understand why you showed so few strings/positions, but of course, the advantage of tunings like the 5th is that it's symmetrical, and thus the same patterns applies everywhere.

ixlramp · 04-12-2012, 04:05 PM

Excellent and very clear diagrams

All_¥our_Bass · 04-12-2012, 05:34 PM

Quote:

Originally Posted by vansinn

the advantage of tunings like the 5th is that it's symmetrical, and thus the same patterns applies everywhere.

My second favorite tuning is all fourths, would love to try all maj3 sometime.

Waelstrum · 04-12-2012, 05:55 PM

^The cool thing about fourths and fifths is that you can use all the chord shapes for one on the other if you play them upside down. One of these days I'm going to tune my six to fifths, but have the strings in inverse order, so I can use the same shapes that I'm used to.

SchecterWhore · 04-13-2012, 01:42 AM

Quote:

Originally Posted by All_¥our_Bass

My second favorite tuning is all fourths, would love to try all maj3 sometime.

Major thirds is fun. It makes a lot of stuff more difficult, but if you're doing a lot of chromatic scales, clusters, and tight voicings, it's awesome. I also tried a tuning based on two augmented chords that was pretty intuitive for non-diatonic stuff. I think it was E G# C D F# A#.

venneer · 04-13-2012, 07:32 AM

Quote:

Originally Posted by Waelstrum

^The cool thing about fourths and fifths is that you can use all the chord shapes for one on the other if you play them upside down. One of these days I'm going to tune my six to fifths, but have the strings in inverse order, so I can use the same shapes that I'm used to.

You mean like getting a left handed guitar and playing it righty?
I have extensive experience with the opposite of that, being a left handed player and having, on more than one occasion, had to play some stuff on the spot, without my gear.
On my most "bored out of my mind" day I learned to play Opeth's "Deliverance" upside down, solos included. I'll say it right now it is not as entertaining as you would think, but makes for a cool visual trick.

---
Now I see that is not exactly what you meant, but I can't really visualize what you are saying. Going to leave my original comment here for kicks. Might be a cool idea for you anyway or someone else. It never did anything for me, but you never know.

Grimbold · 04-13-2012, 12:54 PM

Quote:

Originally Posted by vansinn

Sexy. At first I didn't understand why you showed so few strings/positions, but of course, the advantage of tunings like the 5th is that it's symmetrical, and thus the same patterns applies everywhere.

this
quite excellent

ElRay · 04-13-2012, 02:14 PM

Quote:

Originally Posted by SchecterWhore

Major thirds is fun. It makes a lot of stuff more difficult, but if you're doing a lot of chromatic scales, clusters, and tight voicings, it's awesome.

I love all M3rds. The advantages are huge. It's not the greatest for me, myself and I playing (without a looper), but if you're doing "piano-like" note runs and dense chords, it's great.

That's why I have on my "To-Do" list to map-out some 5ths in the bass, 3rds in the treble tunings. That will likely wait until I have an 8-string on the horizon.

Ray

All_¥our_Bass · 04-13-2012, 05:38 PM

Quote:

Originally Posted by ElRay

I love all M3rds. The advantages are huge. It's not the greatest for me, myself and I playing (without a looper), but if you're doing "piano-like" note runs and dense chords, it's great.

My main reason behind my interest in Maj3rds tuning.

Quote:

Originally Posted by venneer

You mean like getting a right handed guitar and playing it lefty?

Fixed
I've talked to this guy before and that's what he does.

ixlramp · 04-14-2012, 04:11 PM

I'm also interested in sixths tunings

phrygian12 · 04-15-2012, 01:28 AM

This is pretty cool

Quote:

Originally Posted by ixlramp

I'm also interested in sixths tunings

Oh yeah? well...I'm interested in unison tuning ha-ha!...wait D: fffffuuuuc-

ixlramp · 04-15-2012, 02:44 PM

I can see potential in m3s M3s tritones fifths sixths, only fourths makes no sense to me.

Trespass · 04-15-2012, 07:18 PM

Quote:

Originally Posted by ixlramp

I can see potential in m3s M3s tritones fifths sixths, only fourths makes no sense to me.

Considering the scale length, body shape, and position the instrument is played in, 4ths makes quite a bit of sense.

ixlramp · 04-16-2012, 04:54 PM

Yes certainly, but for me personally i see the options to either side, M3 and tritone, to be more interesting. Perhaps it comes from a lifetime of hearing fourths based chords and finding alternatives refreshing

All_¥our_Bass · 05-15-2012, 08:10 PM

UPDATE!!!!:

I added some more 'advanced' chords (7, 11, 13, added tones, diminished, augmented) and updated some of the previous areas.

Code:

Major

|█| |■| Maj3
|█| | | P5
|█| | | R


|█|█| P5
|█|█| R
|█| | Maj3


| | | |■| P5
|x|x|x|x| 
| | |■| | Maj3
|x|x|x|x| 
|■| | | | R


|■| Maj3
|x|
|x|
|■| 5
|■| R


|█| | |■| R
|█| |■| | Maj3
|█| | | | P5
|█| | | | R


|█| | |■| P5 
|█| | |■| R
|█| |■| | Maj3
|█| | | | P5
|█| | | | R

|█| | | | Maj3
|█| | |■| R
|█| |■| | Maj3
|█| | | | P5
|█| | | | R


Major dyad (Maj no5)
|█| | | | Maj3
|█| | |■| R


|■| | | | Maj3
| | | |■| R


| | |■| Maj3
|x|x|x|
|■| | | R

| | | |■| R
| | |■| | Maj3
|x|x|x|x|
|■| | | | R

===========================================

Minor

|█|■| Min3
|█| | P5
|█| | R


|█| |█| P5
|█| |█| R
|█| | | Min3


| | | |■| P5
|x|x|x|x| 
| |■| | | Min3
|x|x|x|x| 
|■| | | | R


|■| | Maj3
|x|x|
|x|x|
|█|■| 5
|█|■| R


|█| | |■| R
|█|■| | | Min3
|█| | | | P5
|█| | | | R


|█| | |■| P5 
|█| | |■| R
|█|■| | | Min3
|█| | | | P5
|█| | | | R


Minor dyad (Min no5)
|█| | | | | Min3
|█| | | |■| R


|■| | | | | Min3
| | | | |■| R


| |■| Min3
|x|x|
|■| | R


| | | |■| R
| |■| | | Min3
|x|x|x|x|
|■| | | | R

===========================================

Sus2 / Power chord with added major 9th (5add9)

|█| maj2/9
|█| P5
|█| R


|█| | |█| P5
|█| | |█| R
|█| | | | Maj2/9


| | | |■| P5
|x|x|x|x| 
|■| | | | Maj2/9
|x|x|x|x| 
|■| | | | R


|█| | |■| R
|█| | | | Maj2/9
|█| | | | P5
|█| | | | R


|█| | |█| P5 
|█| | |█| R
|█| | | | Maj2/9
|█| | | | P5
|█| | | | R


|█| | |█| Maj2/9
|█| | |█| P5 
|█| | |█| R
|█| | | | Maj2/9
|█| | | | P5
|█| | | | R


Sus2+ , Sus2#5
|█| | maj2/9
|█|■| #5
|█| | R


Sus2 add b6
|█| | | maj2/9
|█|■| | b6
|█| | | R
| | |■| P5

===========================================

Sus4 / Power chord with added Perfect 4th (5add4)

| | | |■| P4
|█| | | | P5
|█| | | | R


|█| | |■| P4
|█| | | | P5
|█| | | | R


| | | |■| P4
|■| | | | P5
|x|x|x|x|
|x|x|x|x|
| | |■| | R


|█| | | | P5
|█| | | | R
|█| | | | P4
| | |■| | R


| | | |█| R
| | | |█| P4
|█| | | | P5
|█| | | | R


| | | |█| P5
| | | |█| R 
| | | |█| P4
|x|x|x|x| 
|■| | | | R


|█| | |█| P5 
|█| | |█| R
|█| | |█| P4
|█| | | | P5
|█| | | | R

===========================================

Maj7
|█| |█| Maj7
|█| |█| Maj3
|█| | | P5
|█| | | R


Maj7 no 3
|█| | | | Maj7
|█| | |■| P5
|█| | |■| R


Maj7 no 5
|█| | | | Maj7
|█| | | | Maj3
|█| | |■| R


Maj9 no 3
|█| |■| Maj7
|█| | | Maj9
|█| | | P5
|█| | | R


Maj add 9
| | | | | |■| Maj9
|█| |■| | | | Maj3
|█| | | | | | P5
|█| | | | | | R


Maj6 (Maj add 6)
|█| | | Maj6
|█| |■| Maj3
|█| | | P5
|█| | | R


Maj6 (Maj add 6)
|█| | | Maj3
|█| | | Maj6
|█|x|x| (barre but don't play)
|█| | | P5
|█| | | R


Maj7 #11
|█| |█| #11
|█| |█| Maj7
|█| |█| Maj3
|█| | | P5
|█| | | R


Maj7 #11 no 3
|█| | | | #11
|█| | | | Maj7
|█| | |■| P5
|█| | |■| R


Maj13 no 11
|█| Maj7
|█| Maj3
|█| Maj13
|█| Maj9
|█| P5
|█| R

===========================================

Min7
|█|█| Min7
|█|█| Min3
|█| | P5
|█| | R


|█| |■| P5
|█| |■| R
|█| | | Maj3
|█| |■| Min7


Min6 (Min add6)
|█| | Maj6
|█|■| Min3
|█| | P5
|█| | R


Min add 9
| | | | | |■| Maj9
|█|■| | | | | Min3
|█| | | | | | P5
|█| | | | | | R


| | | |█| Maj9
| | | |█| P5
| | | |█| R
|█|■| | | Min3
|█| | | | P5
|█| | | | R


Min add b9
| | | | |■| b9
|█|■| | | | Min3
|█| | | | | P5
|█| | | | | R


|█| | | Min3
|█|x|x| (barre but don't play)
|█| | | b9
|█|■| | P5
|█|■| | R


Min add b9,b6
| | | | |■| b6
| | | | |■| b9
|█|■| | | | Min3
|█| | | | | P5
|█| | | | | R


|█| | | Min3
|█| | | b6
|█| | | b9
|█|■| | P5
|█|■| | R


|█| | | Min3
|█|x|x| (barre but don't play)
|█| | | b9
|█|■| | P5
|█|■| | R


Min11
|█|█| P11
|█|█| Min7
|█|█| Min3
|█| | P5
|█| | R


Min11 no 3
|█| | | | | 11
|█| | | | | Min7
|█| | | |■| P5
|█| | | |■| R


Min 13 no 11
|█| | Min7
|█| | Min3
|█| | Min13
|█| | Min9
|█|■| P5
|█|■| R

===========================================

Dominant
|█|■| | Min7
|█| |■| Maj3
|█| | | P5
|█| | | R


|█| |■| | Maj3
|█| | |■| Min7
|█| | | | R
|█| |■| | P5


|█|■| P5
|█|■| R
|█| | Maj3
|█|■| Min7


Dominant no 5
|█| |■| | Maj3
|█| | |■| Min7
|█| | | | R


|█| | |■| R
|█| |■| | Maj3
|█| | |■| Min7
|█| | | | R


| |■| R
|■| | Maj3
| |■| Min7

===========================================

Power Chord (5)
|█| 5
|█| R


|■| | | R
| | |■| 5


|█| | | 5
|█| | | R
| | |■| 5


|█| | | R
| | |■| 5
| | |■| R


|█| | | 5
|█| | | R
| | |■| 5
| | |■| R

===========================================

Augmented
| | |■| 3
| |■| | 5
|■| | | R


| | |■| 5
| |■| | R
|■| | | 3


| | |■| R
| |■| | 3
|■| | | 5


| | | |■| R
| | |■| | 3
| |■| | | 5
|■| | | | R


7+ , 7 #5 , Dominant #5 , Dominant b13)
| |■| | | min7
| | |■| | 3
| |■| | | 5
|■| | | | R

Aug Maj7 , Maj7+
| | |█| | Min7
| | |█| | 3
| |■| | | 5
|■| | | | R

===========================================

Diminished (dim)
| | |■| Min3
|■| | | d5
| |■| | R


Diminished 7 (dim7)
| |■| | d7
| | |■| Min3
|■| | | d5
| |■| | R


Diminished 7 no 3 (dim7 no3)
| |■| | Min3
| | |■| d5
|■| | | R


Diminished 7 no 3 (dim7 no3)
| | |■| d7
|■| | | R
| |■| | d5
| | |■| R

===========================================

Quartal Chord
|█| | | | | min7
|█| |■| | | P4
|█| | | |■| R

Explorer · 05-16-2012, 12:15 AM

For what it's worth, here's what I did when I was playing 8-string in full fifths.

I would set up the tuning in any of the free chord/scale generators available online, and then put in the different chord types by intervals.

I'd then look for clusters which would be good bar chords.

I'd also pay attention to what chords had open strings available, combined with decent upper strings.

You normally only need one really low note when in full fifths on 8-string, especially since the lowest notes on the instruments are generally Ab0 or Bb0.

I also still do this with my full-fifths instruments with four or six courses.

Waelstrum · 05-16-2012, 01:11 AM

Quote:

Augmented
| | |■| 3
| |■| | 5
|■| | | R

| | |■| 5
| |■| | R
|■| | | 3

| | |■| R
| |■| | 3
|■| | | 5

| | | |■| R
| | |■| | 3
| |■| | | 5
|■| | | | R

This part made me lol.

All_¥our_Bass · 05-22-2012, 01:15 PM

Oops! I left out a diminished 7 voicing.

Code:

dim 7 no 3
| | | | |■| b5
| | |■| | | d7
|■| | | | | R

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04-12-2012, 03:55 PM	#2
vansinn such a shredneck.. Join Date: Sep 2007 Location: Cph, dk Posts: 1,357 Thanked: 17 Feedback Score: 0 reviews	Sexy. At first I didn't understand why you showed so few strings/positions, but of course, the advantage of tunings like the 5th is that it's symmetrical, and thus the same patterns applies everywhere. Kiefer likes this. van Sinn.. plays progressive metal, jazz/rock fusion and Hindu-derived ambiance says, stop second guessing the past, keep pushing, or risk getting left behind opposes any kind of mind control, has no tv - but has a fully functional pineal gland

05-16-2012, 12:15 AM	#17
Explorer He seldomly knows... Join Date: May 2009 Location: Formerly from Cucaramacatacatirimilcote... Posts: 3,695 Thanked: 40 Feedback Score: 2 reviews	For what it's worth, here's what I did when I was playing 8-string in full fifths. I would set up the tuning in any of the free chord/scale generators available online, and then put in the different chord types by intervals. I'd then look for clusters which would be good bar chords. I'd also pay attention to what chords had open strings available, combined with decent upper strings. You normally only need one really low note when in full fifths on 8-string, especially since the lowest notes on the instruments are generally Ab0 or Bb0. I also still do this with my full-fifths instruments with four or six courses. If you don't care enough to research your own question, why should anyone else care more? "Pay no attention to his long winded posts... (Explorer) seldomly knows what he's talking about." Adam Of Angels "Actual knowledge and a google bookmark are very different things." Anonymous neg-repper

05-22-2012, 01:15 PM	#19
All_¥our_Bass Army Without Borders Join Date: May 2006 Location: Zanzibar Land Posts: 6,983 Thanked: 81 Feedback Score: 0 reviews	Oops! I left out a diminished 7 voicing. Code: dim 7 no 3 \| \| \| \| \|■\| b5 \| \| \|■\| \| \| d7 \|■\| \| \| \| \| R No Nation. No Philosophy. No Ideology.

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04-12-2012, 04:05 PM	#3
ixlramp SS.org Regular Join Date: Mar 2007 Location: UK Posts: 1,307 Thanked: 72 Feedback Score: 0 reviews	Excellent and very clear diagrams

04-12-2012, 05:55 PM	#5
Waelstrum All Fourths Advocate Join Date: Aug 2009 Location: Queensland, Australia Posts: 1,123 Thanked: 4 Feedback Score: 0 reviews	^The cool thing about fourths and fifths is that you can use all the chord shapes for one on the other if you play them upside down. One of these days I'm going to tune my six to fifths, but have the strings in inverse order, so I can use the same shapes that I'm used to. I'm not a hipster, I just act like it ironically. Learning is metal as ..... - SchecterWhore

04-14-2012, 04:11 PM	#11
ixlramp SS.org Regular Join Date: Mar 2007 Location: UK Posts: 1,307 Thanked: 72 Feedback Score: 0 reviews	I'm also interested in sixths tunings

04-15-2012, 02:44 PM	#13
ixlramp SS.org Regular Join Date: Mar 2007 Location: UK Posts: 1,307 Thanked: 72 Feedback Score: 0 reviews	I can see potential in m3s M3s tritones fifths sixths, only fourths makes no sense to me.

04-16-2012, 04:54 PM	#15
ixlramp SS.org Regular Join Date: Mar 2007 Location: UK Posts: 1,307 Thanked: 72 Feedback Score: 0 reviews	Yes certainly, but for me personally i see the options to either side, M3 and tritone, to be more interesting. Perhaps it comes from a lifetime of hearing fourths based chords and finding alternatives refreshing