In This Guide
1 What Is DADGAD Tuning?
DADGAD is an alternate guitar tuning where the strings are tuned, from low to high, to D-A-D-G-A-D. Unlike true open tunings that produce a major or minor chord, DADGAD produces a Dsus4 chord, a suspended voicing that contains no third. This absence of the third degree means the open strings are neither major nor minor, creating a hauntingly ambiguous, harp-like sound that has made DADGAD one of the most beloved alternate tunings in acoustic guitar music.
The tuning was popularized in the 1960s by British folk guitarist Davey Graham, who reportedly developed it after hearing Moroccan oud players during his travels in North Africa. The oud's open, modal character inspired Graham to find a guitar tuning that could replicate that atmospheric quality. His recording of "Angi" in DADGAD became a landmark moment in acoustic guitar history and inspired a generation of Celtic and folk guitarists to explore the tuning.
Pierre Bensusan, the French-Algerian virtuoso, has spent his entire career playing almost exclusively in DADGAD, demonstrating that this single tuning can handle everything from jazz-inflected harmony to world music to classical-influenced compositions. His work proves that DADGAD is not a limited or niche tuning but a complete musical system capable of extraordinary depth and range. Jimmy Page also used DADGAD famously on "Kashmir" and "Black Mountain Side."
The suspended quality of DADGAD makes it exceptionally versatile for modal music. Because the open strings do not define a major or minor tonality, melodies in Dorian, Mixolydian, Aeolian, and other modes sound natural over the drone of the open strings. This is why DADGAD has become the standard tuning for Celtic guitar accompaniment, where modal melodies are the foundation of the tradition.
2 How to Tune to DADGAD
Starting from standard tuning (EADGBE), three strings need to change. The 6th string drops a whole step from E to D. The 2nd string drops a whole step from B to A. The 1st string drops a whole step from E to D. The 5th, 4th, and 3rd strings (A, D, G) remain unchanged. All three changes lower the pitch, which means reduced string tension and no risk of string breakage or neck damage.
DADGAD Tuning: D A D G A D
String: 6th 5th 4th 3rd 2nd 1st
Standard: E A D G B E
DADGAD: D A D G A D
Change: -2 0 0 0 -2 -2
Tuning steps (from standard):
1. 6th string: tune DOWN a whole step (E to D)
Match to the open 4th string (D), one octave lower
2. 5th string: stays the same (A)
3. 4th string: stays the same (D)
4. 3rd string: stays the same (G)
5. 2nd string: tune DOWN a whole step (B to A)
Match to the open 5th string (A), one octave higher
6. 1st string: tune DOWN a whole step (E to D)
Match to the open 4th string (D), one octave higher
Verification: strum all open strings = Dsus4 (D A D G A D)
The notes D, A, and G should ring together with no beating or clashing.
Pro Tip
After tuning to DADGAD, check your intonation by playing harmonics at the 12th fret on each string. The harmonics should match the fretted notes at the 12th fret precisely. If they do not, your intonation needs adjustment. Because DADGAD lowers three strings, the reduced tension can cause slight intonation shifts compared to standard tuning. On an acoustic guitar, this is usually negligible, but on an electric with an adjustable bridge, minor saddle adjustments may improve accuracy.
The reduced tension from lowering three strings gives DADGAD a softer, more fluid feel under the fingers. Bends require less effort, hammer-ons ring more easily, and the overall tactile experience is gentler than standard tuning. Some players compensate by moving to a slightly heavier string gauge (for example, 12-54 instead of 11-52 on acoustic) to restore firmness. Experiment with gauge to find the balance of tension and playability that suits your touch.
Once tuned, spend a few minutes simply strumming and picking the open strings. Listen to the Dsus4 chord and notice its ambiguous, floating quality. Pick individual strings and listen to how D, A, and G interact. This suspended sound is the foundation of everything you will build in DADGAD, and familiarizing your ear with it is the essential first step.
3 Essential DADGAD Chord Shapes
The most immediate benefit of DADGAD is the rich, resonant chord voicings it produces. Because the open strings form a Dsus4 chord, any chord shape that incorporates open strings benefits from the drone effect of those D, A, and G notes ringing sympathetically. This creates voicings with far more sustain and complexity than standard tuning can typically achieve on an acoustic guitar.
Essential DADGAD Chord Voicings
D major: D minor: Dsus4 (open):
D|--0-- D|--0-- D|--0--
A|--0-- A|--0-- A|--0--
G|--2-- G|--0-- G|--0--
D|--0-- D|--0-- D|--0--
A|--0-- A|--0-- A|--0--
D|--0-- D|--0-- D|--0--
(add F# on (G string (all open)
3rd string) stays open =
D minor add4)
G major: A major: C major:
D|--0-- D|--0-- D|--0--
A|--0-- A|--2-- A|--0--
G|--0-- G|--2-- G|--0--
D|--0-- D|--2-- D|--2--
A|--0-- A|--0-- A|--3--
D|--5-- D|--0-- D|--0--
(bass note on (barre fret 2 (C in bass,
6th string) on 2-3-4) open strings
create Cadd9)
Em (or Em11): Bm add11:
D|--0-- D|--0--
A|--0-- A|--0--
G|--0-- G|--4--
D|--2-- D|--4--
A|--2-- A|--2--
D|--0-- D|--0--
Notice how many of these chords incorporate open strings. The open D, A, and D on the outer strings act as drones that sustain through chord changes, creating a continuous harmonic bed. This droning quality is what gives DADGAD its characteristic Celtic and folk sound. Even when the fretted notes change, the open strings maintain a thread of continuity that binds the progression together.
The D major chord is the home base of DADGAD. Simply fret the 3rd string at the 2nd fret (F#) and leave everything else open. Five of the six strings ring as part of the D major chord (D-A-D-F#-A-D), producing an enormously full, resonant sound that a standard-tuning D chord cannot match. Moving between Dsus4 (all open) and D major (adding one fretted note) is the foundational movement of DADGAD playing.
Pro Tip
In DADGAD, think of chords as "shapes plus drones" rather than as complete grips like standard tuning barre chords. Fret only the notes that define the chord's unique quality (the third, seventh, or any chromatic tensions) and let the open D-A-D strings drone underneath. This approach produces richer voicings and is physically easier than trying to fret all six strings.
4 Celtic and Folk Applications
DADGAD has become the default tuning for Celtic guitar accompaniment, and for good reason. Celtic music is fundamentally modal, built on Dorian, Mixolydian, and Aeolian melodies that predate the major-minor system of Western classical music. The suspended, non-committal quality of DADGAD's open strings aligns perfectly with these modal sounds. A major-tuned open tuning would clash with minor or Dorian melodies, but DADGAD's neutrality accommodates any mode gracefully.
The standard Celtic guitar technique in DADGAD involves a driving bass-and-strum pattern where the thumb alternates between bass notes (typically the 6th, 5th, and 4th strings) while the fingers strum or pick chord partials on the upper strings. This creates a rhythmic, percussive accompaniment that drives jigs, reels, and hornpipes without overpowering the melody instruments (fiddle, flute, pipes). The open strings provide a constant drone that mimics the sustained bass of the Irish uilleann pipes.
For solo Celtic guitar arrangements, DADGAD allows you to play melody and accompaniment simultaneously. The bass strings handle droning root and fifth notes while the treble strings carry the melody. Tunes like "Blackwater Side," "She Moved Through the Fair," and "The South Wind" are staples of the DADGAD Celtic repertoire. The tuning's natural resonance fills out the sound of a solo guitar, making single-instrument performances feel complete and satisfying.
Beyond Celtic music, DADGAD works beautifully for Middle Eastern and North African influenced music, which is appropriate given its origins in Davey Graham's encounters with oud music. The droning D bass creates a perfect foundation for fingerstyle arrangements of Arabic maqam-influenced melodies. Jimmy Page's "Kashmir" exploits exactly this quality, using DADGAD's droning character to create the song's hypnotic, Eastern-influenced riff.
5 Scales and Melody Playing in DADGAD
Playing scales in DADGAD requires remapping your fretboard knowledge because the intervals between strings differ from standard tuning. In standard tuning, most adjacent strings are a fourth apart (with a major third between the 3rd and 2nd strings). In DADGAD, the intervals are: 6th to 5th = fifth, 5th to 4th = fourth, 4th to 3rd = fourth, 3rd to 2nd = second (whole step), 2nd to 1st = fourth. That whole-step interval between the 3rd and 2nd strings (G to A) changes scale shapes significantly.
D Major Scale in DADGAD - Position 1
D|--0--2--4--5-----------
A|--0--2--4--------------
G|--0--2--4--------------
D|--0--2--4--5-----------
A|--0--2--4--------------
D|--0--2--4--5-----------
D E F# G A B C# D
D Mixolydian Scale (b7) - Position 1
D|--0--2--3--5-----------
A|--0--2--3--------------
G|--0--2--4--------------
D|--0--2--3--5-----------
A|--0--2--3--------------
D|--0--2--3--5-----------
D E F# G A B C D
D Dorian Scale - Position 1
D|--0--2--3--5-----------
A|--0--2--3--------------
G|--0--2--4--------------
D|--0--2--3--5-----------
A|--0--2--3--------------
D|--0--2--3--5-----------
D E F G A B C D
The key of D is the natural home key for DADGAD, and scales in D sit very comfortably under the fingers. D major, D Mixolydian, D Dorian, and D minor (Aeolian) are the four most useful scales to learn first. Because the open strings are all chord tones of D (D, A, and G), these scales benefit from open-string resonance that adds sustain and depth to melodic playing.
Playing melodies on the treble strings (1st, 2nd, 3rd) while letting the bass strings (4th, 5th, 6th) ring open is the classic DADGAD melodic approach. The bass drone grounds the melody harmonically while the treble notes dance above it. This creates a self-accompanying solo guitar sound that is uniquely suited to DADGAD. Experiment with playing familiar melodies on the top three strings and notice how the open bass strings add harmonic context automatically.
For keys other than D, a capo is the simplest solution. A capo at the 2nd fret puts you in E (EBEABE). Capo at the 5th fret gives you G (GBDGBD, essentially creating an open-tuning-like environment). DADGAD also works in the keys of G and A without a capo, though these require more fretted notes and less reliance on open strings. Most dedicated DADGAD players become expert at using capos to shift keys while maintaining the tuning's characteristic droning quality.
6 Fingerstyle Techniques and Arrangements
DADGAD is a fingerstyle player's dream. The tuning's natural resonance, combined with the drone of open strings, makes even simple fingerpicking patterns sound rich and full. The basic technique involves the thumb handling the 6th, 5th, and 4th strings (bass notes and drones) while the index, middle, and ring fingers pick the 3rd, 2nd, and 1st strings (melody and chord tones). This division mirrors the approach used in classical guitar but with DADGAD's unique harmonic palette.
Alternating bass patterns are particularly effective in DADGAD. The thumb alternates between the 6th string (D) and the 5th string (A) or the 4th string (D) while the fingers pick a melody or chord pattern above. Because the bass notes are root and fifth of D, the alternating pattern creates a strong rhythmic and harmonic foundation for any melody in the key of D or its related modes.
Harmonics play a special role in DADGAD arrangements. The natural harmonics at the 12th, 7th, and 5th frets produce beautiful, bell-like tones that ring clearly and sustain for a long time. Because the open strings are D, A, D, G, A, D, the harmonics at the 12th fret produce those same notes an octave higher, creating a shimmering, ethereal effect. Many DADGAD compositions use harmonics as intros, transitions, or endings to great effect.
When arranging songs for solo DADGAD guitar, think in three layers: bass (thumb on lower strings), harmony (fretted chord partials in the middle), and melody (top strings or occasionally inner voices). The open strings handle much of the harmonic content, freeing your fretting hand to focus on melodic movement. Start with simple arrangements of folk melodies and gradually increase complexity as your comfort with the tuning grows. Pierre Bensusan's recordings are the gold standard for understanding what is possible with advanced DADGAD fingerstyle technique.
Pro Tip
Use the "pull-off to open string" technique extensively in DADGAD. Because the open strings are all musically useful (D, A, G), pulling off from a fretted note to an open string almost always sounds good and adds cascading resonance to your playing. This technique is a hallmark of Celtic DADGAD style and creates the harp-like sound the tuning is famous for.
7 Songs and Repertoire to Learn
Begin with Davey Graham's "Angi," the piece that put DADGAD on the map. It is a relatively simple fingerstyle composition that demonstrates the tuning's resonant beauty without demanding advanced technique. The melody moves over droning bass strings, showcasing the modal character that makes DADGAD distinctive. Learning "Angi" gives you a solid foundation in DADGAD navigation and introduces essential fingerstyle patterns that appear in countless other DADGAD pieces.
Led Zeppelin's "Kashmir" is the most famous rock song in DADGAD. The main riff uses a chromatic descending line on the 3rd and 4th strings over droning open D strings, creating the song's hypnotic, Eastern-flavored character. Jimmy Page also used DADGAD for "Black Mountain Side," an acoustic piece inspired by Bert Jansch's "Blackwater Side." Both songs demonstrate how DADGAD's droning bass creates an orchestral fullness that standard tuning struggles to match.
For Celtic repertoire, start with traditional tunes arranged for solo DADGAD guitar: "She Moved Through the Fair," "The Parting Glass," and "Star of the County Down" are excellent beginning pieces that teach fundamental DADGAD chord shapes and bass-melody coordination. As you progress, explore the arrangements of Tony McManus, who is widely regarded as the finest Celtic DADGAD guitarist alive. His recordings of jigs and reels demonstrate the tuning's capacity for rhythmic, driving music as well as slow airs.
For contemporary fingerstyle, explore the music of Pierre Bensusan ("Wu Wei," "So Long Michael"), Andy McKee (who uses DADGAD-family tunings for percussive fingerstyle), and Laurence Juber (former Wings guitarist who has recorded extensively in DADGAD). Each of these artists represents a different approach to the tuning, from Bensusan's jazz-world fusion to McKee's percussive modern style. Learning repertoire from multiple DADGAD traditions broadens your understanding of the tuning's possibilities and develops a well-rounded technique.
Key Takeaways
- DADGAD tunes to D-A-D-G-A-D, creating a Dsus4 chord that is neither major nor minor
- Three strings are lowered from standard tuning (6th, 2nd, 1st), making it safe for any guitar
- The suspended quality makes DADGAD ideal for modal music, especially Celtic, folk, and Middle Eastern styles
- Essential chord shapes use minimal fretting combined with droning open strings for rich, resonant voicings
- The key of D is the natural home; use a capo to access other keys while maintaining the tuning's character
- Fingerstyle technique with alternating bass, open-string pull-offs, and harmonics defines the DADGAD sound
- Start with "Angi" by Davey Graham and Led Zeppelin's "Kashmir" to build foundational DADGAD skills