[MUSIC]
Okay, so we got
a reference pitch there.
Now, we're going to do a little bit.
This is gonna be part tuning,
part learning about some
of the notes of the guitar.
And there's some kind of major
landmarks going on here.
So I mentioned before, we could play a D
in order to tune the D string from the A.
[MUSIC]
To get to the D,
I'm gonna go A, A sharp,
B, C [SOUND] C sharp D.
There's no half step, there's no sharp or
flat between the notes E and
F, or B and C.
So you're gonna get A, A sharp B.
No half step in there, no sharp or flat.
[SOUND] B to C.
[MUSIC]
C, C sharp.
[MUSIC]
D.
[SOUND] And now, I'll be holding down a D
note on the A string and tuning the D.
Look, I'll just put it flat for
a second, so you can hear.
[MUSIC]
Now, what I found to be
the issue with this method.
Most people learn this method first.
Is that, there we go.
You end up letting go
of the reference pitch.
[MUSIC]
That pitch on that string.
So in a way it test you because
you've gotta use your memory.
[MUSIC]
Now, that's in tune.
Okay, now we're gonna tune
the G string from the D string.
We're gonna go D, D sharp, E, F.
And remember I said, E, F.
And B and C don't have a sharp or
a flat in between them.
So here, we're going, there's your E.
There's your F.
So D, D sharp, E, F, F sharp, and now G.
So now I'm gonna tune my open G.
And if I,
[MUSIC]
I'll just bust it out a little flat
for us.
[MUSIC]
Now, you hear the beats.
[SOUND]
Okay.
[MUSIC]
So you have to use your
ear to do that now, and so on.
So now, here's an interesting thing,
because so
far all of these reference notes
have been on the fifth fret.
One, two, three, four, five.
So now, there's a difference in
the distance between, the G and
the B string that cause us to have
to make a B note on the G string.
We only go up to the fourth fret,
not all the way up to the fifth.
So it's G, G sharp, A, A sharp, B,
[MUSIC]
and now, we want to get those two strings
to match, and look at there, they're good.
Now, what happens if I go sharp.
[MUSIC]
I get to there and I'm like.
[MUSIC]
It was recommended to me,
my way of thinking about it is,
I like tuning up to the note.
I don't like tuning down to the note.
It seems to me that with
all the pulling and
stretching of the strings just from
playing, it's gonna get pulled looser.
So I don't wanna be heading in the looser
direction when I let it go, from tuning.
I want it on the upswing.
[SOUND] So I just tuned up to the note.
[SOUND] And there you go.
[MUSIC]
Sounds pretty good.
Now, I might check it out,
you know I'll play a D chord.
[MUSIC]
Sounds in order.
And then you go to the next one,
back to the fifth fret.
[MUSIC]
I'll take it flat again, just so
you can hear.
[MUSIC]
Okay.
[MUSIC]
Now,
another way another string to go here.
We've got the low E string.
So typically
[MUSIC]
for me
[MUSIC]
I would play the low E.
Remember we played the harmonica
on A on the fifth string
[MUSIC]
to get our A 440 reference pitch or
standard pitch, and
then I would do the same on the E.
And just kinda try to match
it to that high E string.
[MUSIC]
There's
a G chord.
[MUSIC]
Okay, that's pretty good.
I started to talk about standard pitch and
where that comes from.
Standard pitch, for
us in the United States, is 440 hertz.
It has been other things at times.
I think it had been 435, I think period,
like classical music, it's like 415.
I think even in Europe some
people may tune to 442,
443, so this is arbitrary.
Someone decided to standardize things.
I think it was in the 50s
really when this came about.
That it would be 440 hertz,
440 cycles per second.
And that's just what we go on and
really the standardization is helpful,
because people use that standard
when they're building instruments.
Like, I've heard stories about accordions,
I won't mention what country,
but one of the famous accordion building
countries actually would purposely,
they would build accordions
to be not at standard pitch,
a little brighter than standard pitch,
a little sharper.
Because they'd pop a little bit more
when you went in the store to play them.
That brightness would maybe attract you.
So that's a cool thing
actually to consider.
Just in terms of a way to think about
it pitch and flatness versus sharpness.
Flatness is when something is flat
it's below the pitch slightly.
[MUSIC]
Like as I was saying before,
like if I took these two notes.
[MUSIC]
Now, I'm bringing
it up from being flat.
Sharpness is when it's higher
than the reference pitch.
So now, I'm gonna take my G string,
and the one I just pulled flat,
I'm gonna pull it sharp now or
pushed flat, I'm gonna pull it sharp.
[MUSIC]
Whoo.
[MUSIC]
So again, if I was going to go fix it,
I'll go down.
Here's one, sometimes when I'm
just really close, like let's say,
I've already started the tune,
[MUSIC]
and I hear, man, it's just a little sharp,
I didn't quite hit it,
I'll just kind of go like that.
[MUSIC]
Just push down on it a little bit.
[MUSIC]
Okay.
So that is self-referenced version one.
[MUSIC]
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