Yisrael van Handel wrote: ↑
Sun May 19, 2019 11:17 am
By the way, I have been actively avoiding a Sor study with the E string tuned up to F. This tuning was common before 1810 or so. However, when I get to that study, I will be forced to overcome the phobia and tune one guitar for that study.
Me too, I don't like tuning 6th to F. If such 6=F pieces have only open string use for the 6th (i.e. only F) then it
amuses me stick some sort of notched wedge device under 6th string at the first fret, raising the tuning to F.
Quickly returnable to normal tuning.
Regarding low D, I keep one guitar reserved for that tuning (+ the occasional dalliance with Emaj tuning, but actually going
Dmaj., so then retuning 1st = D, 2nd = A, and 3rd = F# - I like this way of doing it for that the 6th, 5th, and 4th are left
unchanged, D, A, D - if you go for E, B, E, G#, B, E, from normal tuning, you're re-tuning 3 strings anyway, but I don't like
the idea of increased tension for the 5th, 4th and 3rd strings. If I became seriously addicted to playing Emaj. tuning pieces
then I'd have a guitar reserved for it strung with more carefully selected string gauges)...
then another guitar reserved for renaissance lute tuning (3rd = F#),
and another guitar hiding away (strung with 2 '5th' gauge strings, one as 6th) for the even less usual 6th = G tuning...
and one for normal tuning.
I never tried any of those 6=D, 5=G pieces yet (nevermind 6=C) - too much other repertoire a-plenty to occupy me forever.
I don't think it's at all odd to dislike re-tuning the guitar in hand... shifting back and forth if going from one
piece to another is highly tedious... besides, it's all extra wear'n'tear on yer instrument.