Beruflich Dokumente
Kultur Dokumente
Understanding DADGAD
and Building Repertoire
Contents
page 2 Introduction to DADGAD
page 8 Amazing Grace
page 10 Greensleeves
page 12 Wayfaring Stranger
page 14 Shebeg and Shemore
page 17 Shenendoah
page 20 When The Saints Go Marching In
page 22 Take Me Out To The Ball Game
DADGAD Tuning
D-A-D-G-A-D presents 3 D strings, 2 A strings and 1 G string.
The 5th, 4th and 3rd strings are identical to those strings in standard tuning.
The 1st and 6th strings are pitched an octave above and below the 4th
string respectively, so the familiar fingerings on that string are repeated on strings 6 and 1.
Likewise the 2nd string A is an octave copy of the 5th string.
Unlike standard, which is tuned all in 4ths except for the major 3rd
between string 3 and 2, here the relationships are more varied:
Strings 6 and 5 are a 5th apart; 5 and 4 are a 4th; 4 and 3 are a 4th;
3 and 2 are a 2nd; 2 and 1 are a 4th.
EX 1
EX 2
4
11
12
l.h.fingers 0
0
4
11
10
12
4
10
12
11
12
12
0
0
0
0
0
0
0
7
11
12
3
Most obvious is the 3rd and 2nd string, G-A relationship. Having two adjacent scale tones on
adjacent strings, opens up the fingering to cascading scale patterns.
Ex 3
0
0
0
Ex 4
The ability to access the same notes on adjacent strings allows for
multiple fingerings from the same position:
Ex 5
2
3
2
0
4
5
4
2
0
6
4
Here are a few DADGAD Chord shapes.
Some are closed and moveable.
Others have open strings that create extended chord tones or suspensions
as the grip is moved up the fingerboard.
Ex 6
Root on
6th string
Em
2 3 4
2 314
Ebmaj7
2 314
2 3
3
0
3
0
0
3
0
0
3
Bb
2 3 4
2
0
0
4fr
2 31
Gm add2
Gadd2
4fr
31
3
3
3
5
4
0
2
0
0
0
0
0
2
4
0
0
4
5
0
0
4
0
0
0
3
0
D(sus4)
D
11fr
234
1 4
3 4111
2 300
3
2
3
0
8
F6add9
2
0
2
0
1
0
1
Gm7 sus4
2 3 4
Fadd2
2
1
2
8fr
2 3 4
Fsus2
0
0
0
0
0
0
12
12
11
0
0
0
30
Root on
5th string
Bb
Am
Am7sus4
114
103
4
2
2
0
7
6
7
0
2
3
2
2
0
0
3
0
2
0
324
1132
Em7sus4
Bm7
C9
Bbmaj7
7fr
134
0
0
3
3
1
3
3
1
32 1
32 4
13400
3
0
2
3
0
1
0
2
3
134
134
0
1
0
2
3
0
0
9
9
7
Intervals - to create inversions, transpose the notes from the 6th to the 1st string,
Ex 7 or reverse the position of notes on strings 5 and 2
min10th
maj10th
min6th
maj10th
min6th
min10th
3
maj6th
5
3
Ex 8
maj6th
0
0
4
0
0
5
0
0
7
0
0
9
0
0
11
10
12
6
The open strings can also supplement traditional harmony and voice leading,
as in this example from Bach.
Ex 9
Dm
Bb
F/A Gm7 F
0
3
5
3
1
3
2
3
0
3
3
0
0
3
Bb6 C
0
3
1
2
3
F A7/C# Dm
2
0
0
0
0
3
7
6
7
0
3
0
0
A7
Dm
0
0
7
6
5
0
The cluster of a 2nd plus a 4th that is created by the top 3 strings serves to thicken
a melody line. Supported with a contrary motion bass line, the result demonstrates how
DADGAD lends itself to more 'suspended' harmony.
C add2/E
F sus4
A9 no3
G sus2
D
4fr
5fr
1
444
1 2
Ex 10
111
5
5
5
3
3
3
0
0
0
0
0
2
0
2
0
4
0
8fr
8fr
Ex 11
4
10
10
3 124
1
0
9
134
0
10
0
10
10
8
r.h.index finger
Ex 12
0
Octaves are a powerful resource in the tuning. Here's the riff and part of the solo
from "Cobalt Blue":
Ex 14
3
3
0
0
0
0
LJ
Amazing Grace
A7
A7sus4
A13
A9/C#
4fr
1244
Dsus2
2111
11
D7
7fr
23
134
1244
32 1
F#+7
G('2)
7fr
4fr
4fr
43121
C9
6fr
E'9/G#
E9
10fr
234
Bm7
Bb7/A
5fr
9fr
3211
141
32
Tuning: DADGAD
11
12
7
7
6
5
0
0
0
11
8
7
6
Bb7/A
A7
Bm7
0
9
11
10
12
7
6
5
E9
4
5
4
6
7
2
4
7
7
7
0
0
Dmaj9
D7
4
10
Dsus2
0
0
0
9
10
A7
9
7
7
8
9
A/C#
0
9
G('2)
F#+7
D7
D/F#
8
5
11
F#sus4
14
F#
9
9
G('2)
F#+7
0
0
0
9
10
7
7
8
9
E'9/G#
Bm7
0
0
4
4
2
A9/C#
4
7
4
2
2
0
0
18
C9
0
1
0
2
3
1
2
F#
2
0
2
2
2
0
A13
4
4
4
5
0
2
2
0
0
0
0
A7sus4
0
0
0
2
0
0
Em7 F#m
22
1/2 IV
F#m7
3
0
0
2
0
10
Greensleeves
Csus2
Am
1132
D9
C/D
10fr
Em
9fr
2 3 4
G('2)
5fr
3121
324
2 314
2 3 4
2 3 4
3 111
G('2)/B
4fr
Tuning:DADGAD
Am
3
2
2
0
2
3
2
2
0
Gsus2
0
0
0
0
0
3
2
2
0
Am
0
2
2
0
1/2 II____
5
2
1
2
2
2
3
0
3
3
1
2
4
2
3
2
4
0
0
Gsus2
Am
Em
0
0
0
0
2
2
3
2
2
0
D9
Fsus2
Am
0
2
2
0
0
2
2
0
0
11
C
G'2/B
0
0
0
2
13
2
1
2
16 Am'2
3
4
2
0
Em
2
0
Csus2
0
10
0
10
Em
0
2
4
5
C/D
Am
0
2
2
0
0
0
7
8
0
6
II
E/B
10
9
10
0
0
10
0
2
Am
10
G'2 F#m7'4 Em
0
0
4
0
2
2
2
0
2
0
2
2
0
12
Wayfaring Stranger
Traditional arranged by Laurence Juber
Am
Am7
B+7#9
5fr
314
Cmaj7
3111
2111
Em
Cm6
21
21
Em7('4) F#m7('4)
G
4fr
11
2 3 4
31
234
3 111
Tuning: DADGAD
1.
Em
2
2
2
5
Em
8
0
0
0
2
2
2
0
0
2
0
5
5
5
Em
2
0 2 0
2
2
0
2
0
2
0
0
2
0
0
Am7
0
0
0
1
2
0
2
B+7#9
0
0
1
2
2
0
2
2
B+7
2
0
2
2
Am7
2.
2
2
0
2
10
13
C
0
2
3
Cmaj7
0
0
0
2
0
Am
Em
13
Dsus4
0
0
0
2
2
2
0
0
0
0
0
2
7
5
7
0
Am/G
Am
2
2
0
Em7
16
F#m7('4) B+7
2
2
2
2
0
1
2
A/C# Am('2)/C
0
1
2
2
2
2
4
2
2
2
Em/B
2
2
2
2
0
2
Em
Cm6 B+7
2
2
2
0
0
0
1
3
3 2 0
harmonic
Em
20
Am
B+7
0
0
2
0
0
0
1
2
Em7add4
play 3 times
2
2
0
0
0
2
2
2
5
5
5
0
0
1
2
2
2
2
0
0
0
14
Bmin7
A7/C#
A7 no 3
D/F#
7fr
5fr
124
211111
F#+7#9
4fr
4fr
0 4 00
3 4
Gadd2
7fr
431
4fr
G6
4fr
32111
11
Tuning: DADGAD
D
2
0
2
0
0
0
4
0
Bmin7
0
0
0
0
0
A7 no3
1
Dsus
4
0
A7/C#
2
0
0
4
0
0
4
0
2
2
9
4
0
2
0
0
Bm7
9
7
2
4
0 2
0
0
2
0
0
0
A7
4
1
2
0
Bmin
F#7/C#
18
F#/A#
15
D/F#
12
15
II
1
0
9
0
11
11
G/B
2
4
0
2
0
0
4
16
21
2 4
Bmin
7
7
3
7
8
9
0
0
Am
G'2
9
7
0
0
4
7
5
0
II
4
6
7
27
30
7
6
5
0
2
4
0
2
11
2 4 2
0
4
0
0
0
0
0
10
4
D/F#
A7
2
4
1
G6
2
0
Bmin
F#7/C#
F#/A#
0
0
2
0
0
0
24
17
Shenendoah
Traditional arr. Laurence Juber
C%
C6
Gsus2
G9
5fr
32
32
2 3
2 3
3 12
To Coda
Tuning: DADGAD
q = 86
Em7('4)
Gsus2
0
0
0
4
3
2
0
0
2
0
0
0
2
0
Em7'4
2.
D
C6
D/F#
6
1.
4
3fr
D/F#
0
0
4
18
8
Em
Em
0
0
5
G/B
2
0
Em
2
0
0
2
2
0
2
0
0
0
4
0
0
Em/A
G/B
D/F#
0
0
0
3
2
3
C%
0
0
G/B
0
0
Em/D
2
0
2
4
3
10
G9
19
Em'4
2
0
0
2
2
0
D.C. al Coda
(make repeat)
Em
4
7
Em/D#
0
5
4
6
Em/D
0
2
Em/A
2
0
2
0
0
4
0
0
0
rit.
0
4
4
G/B
Am/C
Coda
Em/C#
Cmaj7
2
0
2
3
20
A13
A7
211
3 114
4
1
11
111
A13
7
0
2
2
2
0
Em sus4
8fr
444
4231
4fr
7fr
Tuning: DADGAD
D9
7fr
4fr
4
4
4
5
4
4
4
5
A7
2
0
0
2
21
10
D9
9
9
10
0
0
0
0
0
0
0
0
Emin/A
15
0
0
0
2
2
0
17
Bm7
slap on strings
7
7
7
9
7
7
9
4
0
2.
0
0
10
10
1.
D'9/F#
7
9
9
10
Gm sus2/Bb
G/B
A7sus4/E
13
0
22
Bb6
Bbm/Db
C7(9)
C7(9)
8fr
3 141
13
2 113
F('2)
2133
F6
3 112
3 124
312
G('2)/B
G9
F/C
312
Gm Gmin sus2
5fr
3fr
2 3
133
2 3
2 3 4
3 12
2 134
Tuning: DADGAD
4
F6
3
0
0
0
D7/F#
3
3
2
3
3
3
0
3
3
0
3
3
0
2
C7
3
3
2
3
Gm
Gm sus2
C7(9)
0
0
0
0
0
F6
6
F'2
0
0
0
0
0
0
0
0
0
0
G'2/B
G7/B
9
C7(9)
10
9
8
10
0
0
0
10
0
2
3
0
3
Bb6
Bb/D
Bbm/Db
3
5
3
0
3
4
3
4
F/C
3
3
2
3
0
D7 Db7/D D7
2
1
3
3
2
4
G9
C+7
0
0
4
3
2
1
1
3
F
3
3
2
3
0
3
2.
18
0
2
1.
15
0
9
12
23
3
3
2
3
10
10
9
15
15
14
CREDITS
For more information on Laurence Juber: www.laurencejuber.com
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