Melodic expression, or "non-linear" playing, is primarily an alternate tunings endeavor in which the player tries to avoid using the same melody string twice in a row, instead finding each subsequent melody note on a different string. In doing so, each note is allowed to ring into the next, thereby effecting a gentler delivery of the melody.

The term "melodic," used in this context, comes from the five-string banjo world and refers to the exciting discovery made in the early 1960's that bluegrass banjo players could depart from strict arpeggiated "Scruggs" style picking and actually play fiddle tunes note for note. The melodic technique revolutionized bluegrass banjo playing. It affords equally exciting opportunities to Celtic guitar players.

Here is a simple pattern played first in a linear manner and then in a melodic, or non linear, manner. To enable the notes to sustain into each other, it is important to keep your left hand fingers down for a brief moment after you play each note.

The Orkney tuning(CGDGCD) is very well suited to melodic playing. Here is a passage from "Greensleeves" that illustrates the use in this tuning of the melodic technique high up the neck.

Melodic playing is as useful as it is underutilized in Celtic guitar. You will find that it enables you to play more smoothly than you can when playing in a traditional linear manner. Try not to be rigid, however, with the rule that you shouldn't play the same melody string twice in a row. There are very few tunes that can be played from beginning to end with alternating strings for each note. Also, the accented and staccato feel of linear playing may be desirable in places. Instead, view melodic playing as a valuable tool that you can and should employ when the arrangement calls for it.

This tuning has nothing to do with the islands off the northern coast of Scotland. I have simply chosen Orkney as a shorthand way to refer to CGDGCD tuningwhose rise to prominence has been hampered solely by the fact that, unlike DADGAD, it is impossible to pronounce.

The Orkney tuning (CGDGCD) has become my favorite over the years. It is a wonderful tool for melodic (non-linear) playing, in which you avoid playing subsequent notes on the same string. This technique (Pierre Bensusan calls it "harp style,") allows for a very smooth and gentle delivery of the melody and avoids the staccato effect that marks many guitar arrangements of fiddle tunes.

The Orkney tuning is also a great tuning for session back-up. I like it better than DADGAD. You get one extra note's range in the first position and when you're in C, (which in Orkney is often,) you've got a fifth in easy reach at the fifth fret of the first string. This allows for a nice ringy sound. In DADGADyou'd have to stretch your pinkie to the 7th fret to get the equivalent effect.

Drawbacks are that the 6th string tuned down to a C note can sometimes become a bit spaghetti-like and hard to tune. I find, however, that using a heavy 6th string makes this problem quite manageable. Another possible drawback is that playing in D or A is best done with a capo at the 2nd fret. Some people prefer an, un-capoed sound. On the other hand, you may like the higher, ringy sound of the second fret D and A chords.

In all, it's a great tuning. In fact, my theory is that the only thing keeping CGDGCD from overtaking DADGADas the session player's tuning of choice is that its name has heretofore been impossible to pronounce. Accordingly, I hereby christen it "ORKNEY" to sharpen its competitive edge. Try it out and let me know what you think.