What Is Modal Tuning? Exploring DADGAD Origins, Techniques, and Songs

Modal Tuning (DADGAD) is an alternative guitar tuning where the strings are tuned to D, A, D, G, A, D from low to high. It produces a suspended, open sound that lacks a major or minor third, making it ideal for modal and drone-based music. Popularized by Davey Graham in the 1960s, it is a cornerstone of Celtic and folk guitar.

Etymology / Origin

The term “modal tuning” is a descriptive label for DADGAD, highlighting its capacity to facilitate modal playing—music that is not strictly major or minor but draws on ancient modes like Dorian and Mixolydian. The tuning itself was popularized by the visionary British folk guitarist Davey Graham in the early 1960s. Graham, who had traveled extensively in North Africa and was deeply influenced by the music of Morocco, sought to replicate the droning, microtonal qualities of the Arabic oud on the guitar. According to Graham, he stumbled upon the tuning while trying to play along with a recording of the traditional Irish tune “The Shearing of the Sheep.” By lowering his E strings and B string, he found a voicing that allowed him to capture the tune’s modal character and the resonant drone of the uilleann pipes.

Graham first committed DADGAD to record on his 1963 EP From a London Hootenanny and later on the groundbreaking album Folk, Blues and Beyond (1964). The tuning quickly became a hallmark of the British folk revival, adopted by guitarists such as Martin Carthy, who used it to accompany traditional English ballads, and John Renbourn, who integrated it into his intricate fingerstyle arrangements. In the 1970s, French-Algerian guitarist Pierre Bensusan further expanded the tuning’s vocabulary, developing a sophisticated harmonic and melodic approach that he documented in his influential book The Guitar Book (1996). Bensusan’s work helped establish DADGAD as a global standard for acoustic guitarists, particularly in Celtic and world music circles. Graham’s innovation was not entirely without precedent; scordatura (altered tunings) had been used in classical guitar and lute music for centuries. However, his application of DADGAD to folk and world music was revolutionary. The tuning’s popularity soared in the 1970s and 1980s as Celtic music experienced a global resurgence, with artists like Altan, Clannad, and later The Corrs incorporating DADGAD into their arrangements. Today, it is a standard tool in the acoustic guitarist’s arsenal, taught in workshops and online tutorials worldwide.

How It Works

In standard tuning (EADGBE), the guitar is tuned primarily in fourths, with a major third between the G and B strings. DADGAD alters this by lowering the sixth, second, and first strings by a whole step. The resulting intervals from low to high are: perfect fifth (D–A), perfect fourth (A–D), perfect fourth (D–G), major second (G–A), and perfect fourth (A–D). When strummed open, the strings produce a Dsus4 chord (D–A–D–G–A–D), which contains no third (F or F#). This absence of a third is the key to its modal versatility: the chord is neither major nor minor, allowing the player to imply either tonality through melody and additional notes.

The tuning creates a rich, resonant drone effect because three strings are tuned to D and two to A, providing a strong root–fifth foundation. This makes it particularly suited to Celtic, folk, and world music styles that rely on open-string drones and melodic runs. The sympathetic vibration of the open strings when fretted notes are played adds a lush, ambient quality. The physics of DADGAD also contributes to its unique sound. The lowered string tension allows for easier string bending and vibrato, while the sympathetic resonance of the open strings creates a natural reverb effect. When a fretted note matches the pitch of an open string, that string vibrates in sympathy, enriching the overall tone. This phenomenon is particularly pronounced in DADGAD because of the multiple D and A strings. Additionally, the tuning’s intervallic structure makes it easy to play parallel fifths and fourths, a hallmark of Celtic and medieval music.

Chord shapes are often simple, with many one- or two-finger formations, but they require relearning because standard chord grips do not translate directly. For example, a G chord is formed by barring the fifth fret on the three lowest strings, while an A chord can be played by fretting the fourth and third strings at the second fret. The layout also encourages the use of suspended chords, added ninths, and other extended harmonies, giving the music a spacious, open quality. From a theoretical standpoint, DADGAD is particularly well-suited to the D Dorian and D Mixolydian modes, as the open strings provide the root, fifth, and fourth (or eleventh) of the scale. By using a capo, the player can easily transpose these modal patterns to other keys while retaining the open-string voicings. The tuning also facilitates playing in G major and A major, as the open A and D strings serve as the fifth and root, respectively. The lowered string tension can be a challenge, but many guitarists opt for heavier gauge strings (e.g., .013–.056) to maintain a firm feel and reduce fret buzz.

Notation & Diagrams

Below is a basic chord chart for DADGAD tuning. The numbers indicate the fret to press (0 = open string).

For a simple tab snippet, the open strings are played as: D|—0— A|—0— D|—0— G|—0— A|—0— D|—0—. Many players use a capo to change the key while retaining the open-string voicings. A common capo position is the second fret, which raises the tuning to E modal (E-B-E-A-B-E), used in songs like Ed Sheeran’s “Photograph.”

Step-by-Step / How to Play

1. Start with your guitar in standard tuning (EADGBE).
2. Lower the 6th string (low E) down a whole step to D. Use a tuner to match the pitch of the open 4th string (D) an octave lower.
3. Lower the 2nd string (B) down a whole step to A. Tune it to match the 5th string (A) an octave higher, or use a tuner.
4. Lower the 1st string (high E) down a whole step to D. Tune it to the 4th string (D) an octave higher.
5. Check all strings: from low to high they should be D2, A2, D3, G3, A3, D4. Fine-tune using harmonics: the 12th-fret harmonic of the 6th string should match the open 4th string; the 12th-fret harmonic of the 5th string should match the open 2nd string; the 12th-fret harmonic of the 4th string should match the open 1st string. Many guitarists find it helpful to use a clip-on tuner with a flat tuning mode, as the lowered strings can confuse standard tuners.
6. Once tuned, strum all strings open to hear the Dsus4 chord. Experiment with simple one-finger chords: place a finger on the 5th fret of the 6th, 5th, and 4th strings to form a G chord; on the 2nd fret of the 4th and 3rd strings for an A chord.
7. Practice scales and melodies using the open strings as drones. The D major scale can be played starting on the open 4th string, using the 2nd and 4th frets, and moving across strings. For a modal feel, try the D Dorian scale (D, E, F, G, A, B, C) by incorporating the first fret of the 3rd string (F) and the third fret of the 2nd string (C).

Common Variations

• Open D (DADF#AD): Raises the 3rd string from G to F#, creating a full D major chord. Used extensively in blues and slide guitar, it offers a brighter, more resolved tonality than DADGAD.
• Orkney Tuning (CGCGCD): A lower-pitched variant popularized by American guitarist Steve Baughman, this tuning provides a deep, resonant sound ideal for Celtic airs and slow melodies. It is essentially DADGAD tuned down a whole step, with the second string remaining at C.
• DADADD: Raises the 3rd string to A, resulting in a D5 power chord with added octaves. This tuning is useful for ambient textures and heavy riffing, as it eliminates the fourth interval.
• DGDGBD (Open G): A common open tuning for blues and folk, with a G major chord when strummed open. It shares the drone concept but with a major tonality.
• CGDGAD: A variation that lowers the 6th string further to C, extending the bass range and creating a Csus2/D sound. It is favored by some fingerstyle guitarists for its deep, piano-like bass.
• Capoed DADGAD: Placing a capo at the second fret yields E modal tuning (E-B-E-A-B-E), used by Ed Sheeran and others. Capo at the fifth fret gives G modal, and so on. This is a common way to adapt the tuning to different vocal ranges.

Common Mistakes

• Incorrect string tension: Lowering three strings reduces overall tension, which can cause fret buzz and a floppy feel. Use a heavier gauge string set (e.g., .013–.056) to compensate. Many string manufacturers offer DADGAD-specific sets.
• Forgetting to retune the 2nd string: A frequent error is leaving the 2nd string at B instead of lowering it to A, resulting in a dissonant B note against the D and A drones. Always double-check the 2nd string.
• Overusing open strings: While drones are a feature, relying solely on open strings can make your playing sound monotonous. Incorporate fretted notes, partial chords, and melodic movement to create interest.
• Applying standard chord shapes: Standard E, A, and D shapes will sound out of tune. Learn DADGAD-specific voicings; many are simple but require different fingerings. Invest time in learning the new chord vocabulary.
• Neglecting the modal aspect: DADGAD is not just for strumming open chords; it excels at modal melodies. Explore the Dorian and Mixolydian modes using the open strings as reference points. Practice playing melodies that highlight the characteristic notes of each mode.
• Ignoring the capo: A capo is a valuable tool in DADGAD, allowing you to play in different keys without relearning shapes. Experiment with capo positions to find the best key for your voice or ensemble.
• Not exploring the full fretboard: Many beginners stick to the first five frets, but DADGAD offers rich chord voicings up the neck. Learn movable shapes and experiment with higher positions.

Notable Examples in Songs

• “She Moved Through the Fair” – Traditional (arr. by countless artists)
• “Kashmir” – Led Zeppelin
• “Black Mountain Side” – Led Zeppelin
• “In Your Eyes” – Peter Gabriel
• “The Blower’s Daughter” – Damien Rice
• “Photograph” – Ed Sheeran (capo 2)