“All guitars sound great in open tunings.”
It’s a comment that appears reliably in our YouTube comments whenever we record something in an alternate tuning. There’s truth to it—guitars do have a particular resonance when tuned to a chord. But what’s actually happening? Why does tuning strings to create an open chord seem to unlock something in the instrument?
Chris Meikle and Dee Dowling recently explored this question on Alvarez TV, discussing sympathetic resonance, the historical roots of alternate tunings in Baroque and Hawaiian music, and why so many players find open tunings compelling. The conversation touches on physics, playing experience, and the rich tradition of alternate tunings in acoustic guitar music.
The Backpacker’s Discovery
Dee recalls an experience from his younger days that illustrates the point. While backpacking through Southeast Asia, he picked up a budget guitar in Kuala Lumpur for about $40. In standard tuning, it didn’t sound particularly impressive. But once he tuned it to open G, the instrument became noticeably more resonant and inspiring—so much so that he ended up writing an entire album on the road with that guitar. The tuning changed his creative relationship with the instrument.
Sympathetic Resonance
The term that keeps appearing in discussions of open tunings is “sympathetic resonance”—the phenomenon where vibrating strings cause other strings to vibrate at related frequencies.
In standard tuning, six strings are tuned to E, A, D, G, B, and E—intervals that work well for a wide range of chord voicings and melodic approaches. It’s a versatile system that’s served players well for generations.
When you tune those same six strings to create an open chord—say, open G—the strings are now vibrating in relationship to a common harmonic center. The frequencies align differently. Multiple strings are tuned to the same notes in different octaves, which can create interesting resonant effects.
“There’s more harmony going on,” Chris explains. “Everything’s kind of dancing nicely together.”
The result is a particular character—richer in certain frequencies, more resonant in ways that players often find compelling. It’s not necessarily better or worse than standard tuning, just different in how the instrument responds.
Different Playing Approaches
Open tunings change how you interact with the instrument. In standard tuning, chord voicings and scale patterns follow familiar shapes that most players spend years internalizing.
Open tunings present a different landscape. Some voicings become simpler—a full chord can be played by barring one finger across all strings. Other techniques become more accessible—slide playing, for instance, works naturally in open tunings where every string of the open chord drones sympathetically.
Keith Richards understood this approach intuitively. His work in open G—often with the sixth string removed—came directly from the Robert Johnson and Delta blues tradition. Simple fingerings, maximum resonance, the guitar’s open strings contributing to every phrase.
It’s worth noting that “open tuning” doesn’t always mean tuning down. While open G involves lowering three strings, other open tunings require raising certain strings, which increases tension on the neck. Each configuration has its own character and requires its own approach.
“The fluidity,” Dee notes. “You can use one finger or two fingers and create these wonderful melodies, all droning around the same chord.”
That said, open tunings aren’t necessarily easier to play—they’re just different. Most players spend years learning standard tuning, so alternate tunings mean relearning the fretboard in new ways. The advantage is less about simplicity and more about access to different sonic possibilities.
A Long Tradition
Open tunings aren’t modern inventions. Their roots extend back to Baroque and pre-Baroque music, where drone strings were fundamental to instrumentation. Eastern musical traditions employed similar concepts—certain strings tuned to resonate sympathetically with melody strings, creating fullness from simple playing.
Hawaiian guitar playing in the 1800s popularized open tunings in Western contexts, particularly in slide playing. The approach suited lap steel and slack-key styles, where the goal was maximum resonance from minimum effort. Martin’s early dreadnought models were even called “Hawaiian guitars” initially, designed specifically for players working in these tunings.
The tradition continues through artists like Joni Mitchell, who famously used different tunings for nearly every song, treating alternate configurations as compositional tools rather than performance tricks. DADGAD—not technically an open chord but close—became standard in Celtic and fingerstyle playing.
What all these applications share is recognition that standard tuning, while versatile, isn’t the only way—or necessarily the best way—to unlock what an acoustic guitar can do.
The Recording Perspective
From a recording standpoint, open tunings present interesting characteristics. Ben Fitzgerald—who performs as Memphis Gerald—is a regular collaborator at the Alvarez Studios and plays exclusively in DADGAD. When he tracks, the guitar’s resonance creates natural sustain and harmonic complexity.
“How much resonance you’re feeling against your body,” Chris observes after playing in open G. “The guitar’s just doubling up on those frequencies.”
That physical feedback translates to recordings. The instrument sounds more present in certain frequency ranges. The overtones create natural richness. The instrument reveals different aspects of its character.
This doesn’t mean standard tuning is wrong or inferior. Different tools for different jobs. But when the goal is to explore different resonant qualities, open tunings offer something standard configuration doesn’t provide in the same way.
Why It’s Worth Exploring
Open tunings offer a different way to interact with the acoustic guitar. The resonant character that emerges when strings are tuned to a common chord creates particular sonic qualities—richer in certain overtones, more conducive to drone-based playing, opening up melodic approaches that feel natural in ways they might not in standard tuning.
Standard tuning remains remarkably versatile. It’s served countless players and musical styles well. But alternate tunings provide access to different tonal landscapes, different creative approaches. They’re tools in the toolbox, each suited to particular musical goals.
“Try it out,” Chris suggests. “You should definitely play around with it.”
The exploration doesn’t require significant investment. Open G means changing three strings. DADGAD changes two. The fingerings present different challenges and opportunities than standard tuning—not necessarily simpler, just different. And the sonic character that emerges can inspire new musical directions.
Take a guitar you know well. Try open G or DADGAD. Play familiar patterns and notice how the instrument responds differently. The resonances change. Different overtones emerge. The instrument reveals different aspects of its character.
Common Open Tunings to Explore
Open G (D-G-D-G-B-D): The Keith Richards approach. Three strings tuned down. Perfect for slide work and droning bass.
Open D (D-A-D-F#-A-D): Similar character to open G but centered on D major. Popular in fingerstyle and slide.
DADGAD (D-A-D-G-A-D): Not technically open but harmonically rich. Celtic music standard. Only two strings changed from standard.
Open C (C-G-C-G-C-E): Lower and darker than open G. Requires heavier strings to maintain proper tension.
Each creates its own harmonic landscape. Each invites different melodic approaches. The technique is straightforward—tune to a chord, let the sympathetic resonances emerge, explore the different sonic character.
The guitar will tell you what works. Listen to what it says.
What open tunings do you use? How do they change your relationship with the instrument? Let us know in the comments. We’d love to hear what you discover.
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By Chris Meikle (Head of Alvarez) and Dee Dowling (Audio Engineer, Alvarez TV Co-Host), The Alvarez Studios
