{"id":133,"date":"2017-05-08T15:41:59","date_gmt":"2017-05-08T13:41:59","guid":{"rendered":"http:\/\/clicmusikr.cluster017.ovh.net\/?page_id=133"},"modified":"2017-05-08T15:41:59","modified_gmt":"2017-05-08T13:41:59","slug":"1-2-boards-with-one-region","status":"publish","type":"page","link":"https:\/\/tapguitar.net\/index.php\/tunings\/1-2-boards-with-one-region\/","title":{"rendered":"1.2 Boards with one region"},"content":{"rendered":"

<\/h2>\n\n\n\n\n\n\n\n\n\n
Table 1-2 tuning word for the various one-region tunings<\/strong><\/td>\n<\/tr>\n
Type<\/strong><\/td>\nTuning Word,\u00a0<\/strong>
\nIntervals seen from the player<\/strong><\/td>\n<\/tr>\n
Bass 4 str.<\/td>\n#1<4,4,4,4<#4<\/td>\n<\/tr>\n
Spanish Guitar<\/td>\n#1<4,3,4,4,4,4<#6<\/td>\n<\/tr>\n
Guitar in fourths<\/td>\n#1<6x(4)<#6<\/td>\n<\/tr>\n
8 strings in fourths<\/td>\n#1<8x(4)<#8<\/td>\n<\/tr>\n
8 strings Crafty<\/td>\n\u00a0#1<2,3,5,5,5,5,5,5<#8<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/h3>\n

<\/h3>\n

<\/a>1.2.1 Tapping on the ordinary classical electric guitar and bass guitar<\/h3>\n

A recent example is the Spanish Jesus Aunion.\u00a0 He plays a normal instrument , but detuned a second lower . The action is reasonably low. His technique involves tapping mixed with various techniques as cutting on open strings, tap chords, strumming, rasgueado, slapping. The sound is overall very ‘open’ and resonant and the playing involves rhythm and dynamics. Consult also the discography of the works of the Belgian guitar player Pierre Driesmans and the French Serge Pesce, who have both introduced interesting guitar techniques.<\/p>\n\n\n\n\n\n\n
Table 1-3: Jesus Aunion’s Spanish guitar tuning<\/strong><\/td>\n<\/tr>\n
String Nbr<\/td>\n6<\/strong><\/td>\n5<\/strong><\/td>\n4<\/strong><\/td>\n3<\/strong><\/td>\n2<\/strong><\/td>\n1<\/strong><\/td>\n<\/tr>\n
Open Pitch<\/td>\nD1<\/td>\nG1<\/td>\nC2<\/td>\nF2<\/td>\nA2<\/td>\nD3<\/td>\n<\/tr>\n
Gauges<\/td>\n.054<\/td>\n.036<\/td>\n.026<\/td>\n.017<\/td>\n.013<\/td>\n.010<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

String number seen from the audience<\/em>
\nSimilarly, there has been attempts to include tapping on the ordinary bass guitar. Olivier Verschueren has presented recently (2000) compositions including tapping, mixed with effects.
\nSurprisingly, there has been relatively few attempts to play on ordinary guitars tuned all in fourths. This seems to be the domain of dedicated ‘tiptar’ players.<\/p>\n

1.2.2 The 8-strings tiptars<\/h3>\n

These are dedicated instruments, specifically built for tapping. Players of this type of instrument use the alternating-two-hands-on-one side method rather than the separate hands per side, in usage on the 2-regions tiptars. Frank Jolliffe says ” It should be noted that players of the 8-string touchstyle guitars incorporate both crossed and uncrossed hand positions as well as something I call the “linear hands”. This position has the hands moving in a leapfrogging fashion, over the top of one another, along the same or adjacent strings, while going up and down the fretboard. ” In “Touchstyle Quarterly” Vol 5, Number 2, April 1999. Notice that this type of linear playing can also be used on each or both regions of a two-region instrument.<\/p>\n

There are mostly two types of tuning: In fourths or in Crafty fifths.<\/p>\n

<\/a>1.2.2.1 THE 8-STRINGS TIPTAR IN FOURTHS<\/h4>\n

The 8-str. tap-guitar can be tuned all in fourths and in one region. The tuning word is simply ” 1<8_4ths<8″ seen from the player. Some manufacturers consider that the tuning in B is the standard. Recently, Paul Mimlitsch and Ray Ashley\u00a0 have chosen to tune from low Eb (1999).
\n.<\/p>\n\n\n\n\n\n\n\n\n
Table 1-4 The 8-str. all in fourths tuned first from low B-1,\u00a0 second\u00a0 from Eb0<\/strong><\/td>\n<\/tr>\n
String<\/strong><\/td>\n8<\/strong><\/td>\n7<\/strong><\/td>\n6<\/strong><\/td>\n5<\/strong><\/td>\n4<\/strong><\/td>\n3<\/strong><\/td>\n2<\/strong><\/td>\n1<\/strong><\/td>\n<\/tr>\n
Pitch (open)<\/td>\n\u00a0B-1<\/td>\nE0<\/td>\nA0<\/td>\nD1<\/td>\nG1<\/td>\nC2<\/td>\nF2<\/td>\nBb2<\/td>\n<\/tr>\n
Gauge<\/td>\n\u00a0.106\/.125<\/td>\n.100<\/td>\n\u00a0.080<\/td>\n.060<\/td>\n.040<\/td>\n.025<\/td>\n.016<\/td>\n.011<\/td>\n<\/tr>\n
Pitch (open)<\/td>\nEb0<\/td>\nAb0<\/td>\nDb1<\/td>\nGb1<\/td>\nB1<\/td>\nE2<\/td>\nA2<\/td>\nD3<\/td>\n<\/tr>\n
Gauge<\/td>\n\u00a0 .100<\/td>\n\u00a0.080<\/td>\n.060<\/td>\n\u00a0.040<\/td>\n\u00a0.025<\/td>\n\u00a0.016<\/td>\n\u00a0.011<\/td>\n\u00a0.009<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/h4>\n

<\/a>1.2.2.2 THE 8-STRINGS TIPTAR IN CRAFTY FIFTHS<\/h4>\n

Some players play a fifths tuning variant, that reflects their experience as “Crafty” guitarists. For the melody strings they adopted a tuning derived from Robert Fripp\u00b4s “New Standard Tuning” ,On this instrument, 6 strings are in fifths. On the top of that add a third then a second. This tuning, which is not uniform,\u00a0 is used amongst others by Markus Reuter and Kuno Wagner. The strings are tuned as follows<\/p>\n\n\n\n\n\n\n
Table 1-5 The 8-str Crafty tuning, with 6 fifths, one third, then a second.<\/strong><\/td>\n<\/tr>\n
string<\/strong><\/td>\n8<\/strong><\/td>\n7<\/strong><\/td>\n6<\/strong><\/td>\n5<\/strong><\/td>\n4<\/strong><\/td>\n3<\/strong><\/td>\n2<\/strong><\/td>\n1<\/strong><\/td>\n<\/tr>\n
notes (open)<\/td>\nBb-1<\/td>\nF0<\/td>\nC1<\/td>\nG1<\/td>\nD2<\/td>\nA2<\/td>\nC3<\/td>\nD3<\/td>\n<\/tr>\n
String diam.<\/td>\n.100\/.105<\/td>\n.080<\/td>\n.060<\/td>\n\u00a0.040<\/td>\n.020\/.016<\/td>\n.012<\/td>\n.011<\/td>\n.010\/.009<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/h2>\n","protected":false},"excerpt":{"rendered":"

Table 1-2 tuning word for the various one-region tunings Type Tuning Word,\u00a0 Intervals seen from the player Bass 4 str. #1<4,4,4,4<#4 Spanish Guitar #1<4,3,4,4,4,4<#6 Guitar in fourths #1<6x(4)<#6 8 strings in fourths #1<8x(4)<#8 8 strings Crafty \u00a0#1<2,3,5,5,5,5,5,5<#8 1.2.1 Tapping on the ordinary classical electric guitar and bass guitar A recent …<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":128,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-133","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/tapguitar.net\/index.php\/wp-json\/wp\/v2\/pages\/133"}],"collection":[{"href":"https:\/\/tapguitar.net\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/tapguitar.net\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/tapguitar.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tapguitar.net\/index.php\/wp-json\/wp\/v2\/comments?post=133"}],"version-history":[{"count":1,"href":"https:\/\/tapguitar.net\/index.php\/wp-json\/wp\/v2\/pages\/133\/revisions"}],"predecessor-version":[{"id":134,"href":"https:\/\/tapguitar.net\/index.php\/wp-json\/wp\/v2\/pages\/133\/revisions\/134"}],"up":[{"embeddable":true,"href":"https:\/\/tapguitar.net\/index.php\/wp-json\/wp\/v2\/pages\/128"}],"wp:attachment":[{"href":"https:\/\/tapguitar.net\/index.php\/wp-json\/wp\/v2\/media?parent=133"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}