5 chords that sound like they’re in an open tuning but aren’t

Keith Richards plays Micawber: The inclusion of open strings within chords played in standard tuning can produce unique and inspiring sonic variations, as players such as Richards have shown — The inclusion of open strings within chords played in standard tuning can produce unique and inspiring sonic variations, as players such as Keith Richards have shown. (Image credit: Graham Wiltshire/Redferns)

As discussed last time, open/alternative tunings are a great way to expand our chordal horizons without getting our fingers in a twist. However, we also mentioned that there are quite a few expansive voicings available without having to retune.

There’s no doubt that open/alternative tunings facilitate some unique sounds, but in a world where artists such as Davey Graham (who introduced us to the DADGAD tuning in the 1960s) plus Joni Mitchell, Nick Drake, Jimmy Page and Keith Richards have all given their unique spin on multiple angles of this idea, perhaps exploring regular tuning is equally interesting!

The five examples are selected on a fairly random basis, but they could work together to create an interesting piece or accompaniment. It’s also worth mentioning that each example has the potential to yield some interesting variations, by shifting a note within each shape, or simply moving to a different position on the fretboard. The constant, if anything, is the inclusion of open strings.

Example 1. G#m9

GIT537 Chords Lesson — (Image credit: Future)

This G#m9 is a little reminiscent of Joni Mitchell’s jazzier moments (check out the 1980 Shadows And Light album), but no strings were retuned to create it! It’s important to mute the fifth string, but this can be a movable shape if you’re discerning. One useful idea is to shift it down a fret for a nice G9 chord.

Example 2. E5add9add#11

This E5add9add#11 (yes, that really is the simplest way to describe it!) is a handful at first. It’s the result of changing around the bass notes from Example 1 to give an E5 on the fifth and sixth strings. Keeping the same notes on top gives the add9 (F# on the fourth and first strings) and #11 (A# on the third string).

Example 3. C#m9

Here’s a real stretch – until you find the optimum hand position. Try shifting your fretting hand thumb down to the centre of the back of the neck. This C#m9 is surprisingly useful as a movable chord, functioning similarly to an open tuning in that the open first and second strings function as a drone.

Example 4. Esus2sus4

There are shades of Jimmy Page in Led Zeppelin’s Ramble On in this Esus2sus4, one of the only examples of a ‘double’ sus voicing we’ve ever come across.

Remember, these complex-sounding names are just music theory struggling to explain what is actually a very simple chord to play. Once again, treat this as a movable shape for some nice results.

Example 5. A7

This A7 is one of many similar shapes that can be moved up and down the fourth and second strings. The wonderful Gordon Giltrap used shapes like this (albeit in open A tuning) in his signature composition Heartsong. Be sure to mute the sixth string; it isn’t a horrible clash exactly, but it does mess with the resonance overall.

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As well as a longtime contributor to Guitarist and Guitar Techniques, Richard is Tony Hadley’s longstanding guitarist, and has worked with everyone from Roger Daltrey to Ronan Keating.