How to submit songs

You are very welcome to contribute a Luka Bloom song to the Bloody Fingers. You can do so by sending it to me (Ronald Gelten) by e-mail. For the e-mail address, please remove the spamblock from the following address: gelten@spamblock.wish.net.

For correct placement of chords or fret positions in tabulature, please use a mono-spaced (e.g. Courier) font and only spaces. Do not use the tab key, because that will probably mess things up.


Other information, not-so-frequently asked questions etc.

  1. What do the different tunings, such as DADGAD, mean?
  2. How can I tune my guitar according to those tunings?
  3. Can you help me with chord grips?
    1. In standard tuning?
    2. In DADGAD tuning?
  4. What about Luka's unique style?
  5. What equipment does Luka use?
  6. How do you find the chords for a song?

  1. What do the different tunings, such as DADGAD, mean?
    The six characters in the tuning-name indicate the notes that each string should be tuned to, from low to high. Normal or standard tuning would therefore be EADGBE. This means that the lowest string should sound as an E, the next as an A etc.
    DADGAD tuning means that the lowest string should be a D, the next one an A, then a D (exactly one octave higher than the lowest string), followed by G, A and D. Any other indication for the tunings works the same way.
  2. How can I tune my guitar according to those tunings?
    To tune your guitar properly, you need a tuning fork or an electronic tuning apparatus. Very few people have "absolute hearing" (don't know if this is the correct term) and can tell just by hearing a tone whether it is in tune.
    Most people are only concerned with relative tuning. I'll explain for standard tuning. It doesn't really matter how the lowest string is tuned. It just has to sound rather low, because otherwise the high strings could snap while tuning them later. We now act as if this lowest string sounds like an E, and tune the rest of the strings relative to this one. The lowest string is the sixth, so the fifth string should be an A. Adapt the tension on the fifth string until it sounds exacly like the fifth fret position on the sixth string. Work your way up this way to the highest string. The fret postions for the strings are:
    * 5th fret on 6th string to tune the 5th string
    * 5th fret on 5th string to tune the 4th string
    * 5th fret on 4th string to tune the 3rd string
    * 4th fret on 3rd string to tune the 2nd string
    * 5th fret on 2nd string to tune the 1st string
    Always check with harmonics. To do this, place your finger above the 12th fret on a string, but don't press it. Pluck the string. This tone is exactly one octave higher than the tone of the bare string. So, if you do this on the sixth string, this tone should be the same as the 2nd fret position on the 4th string.
    This will work fine in most cases. When you want to play along with a CD, you will have to use the tuning fork. A standard tuning fork produces a pure A.
    Now, for DADGAD tuning, start with the lowest string and tune it to a D if you can. Use the harmonic on this string to tune the 3rd string directly. This sting should be exactly one octave higher than the 6th string, hence the harmonic is ideal to tune it. In the same way, use the harmonic on the 3rd string to tune the 1st string. Now, tune the 5th string to the 7th fret position on the 6th string, so that it sounds like an A. The the 2nd string to the harmonic of this 5fth sting. I always tune the 3rd string (the G) to the harmonic of the 5th string. Be sure to use the second fret position on the 3rd string, then. If you use a tuning fork, it is most easy to start with an A sting and tune one of the D strings relative to this A. Then use the harmonics again to tune the rest.
  3. Can you help me with chord grips?
    Yes. I can help you by supplying a large number of chord diagrams. I can't help you when you want to know where to put your fingers. The reason for this is that my technique is not good. You should take lessons (I should as well, actually) or have a look at Jason Nieh's Guitar Notes, especially the Guitar Instruction section.
    1. In standard tuning?
      First of all, there's Phillip J. Facoline's
      Ultimate guitar chord chart II, which is for standard tuning.
    2. In DADGAD tuning?
      I have compiled a huge chord chart for DADGAD chords containing around 3000 chords in categories: maj, min, sus4, sus2, aug, dim, 0, 6, min6, 7, min7, maj7, 9, min9, maj9, 11, min11, maj11, add9. It is available as a
      PDF file.
  4. What about Luka's unique style?
    Luka Bloom mostly uses DADGAD tuning, but with all tuned down one half-step, so that it becomes:
    C# G# C# F# G# C#. About Luka's style, one should "Let those bottom notes ring out", as he puts it himself. He also plays downstrokes almost exclusively, "which makes it snappy, tight and uptight". One way to get a feel of his style, is by getting "really, really pissed off", and it works, I can tell you.
  5. What equipment does Luka use?
    On stage, Luka Bloom uses three guitars. Two of them are named "Rudy" and "Judy". These are an Alvarez DY88BK and an Alvarez DY88PW, respectively. The third one is a nylon string Takamine cutaway, named "Carmen".
    Lately (1999), Luka has been using a so-called "shruti box" for his song "Leaving Lhasa". The shruti box produces a typical drone.
    Rudy Rudy
    Brand: Alvarez
    Model: DY88BK Advanced Acoustic Electric
    Body Style: Closed Chamber
    Back & Sides: Mahogany
    Top: Spruce
    Finish: Black
    Body Binding: Ivory/Abalone
    Fretboard Material: Ebony
    Bridge: Hexaphonic Piezo Ebony
    Electronics: System 500
    Judy Judy
    Brand: Alvarez
    Model: DY88PW Advanced Acoustic Electric
    Body Style: Closed Chamber
    Back & Sides: Mahogany
    Top: Spruce
    Finish: Black
    Body Binding: Ivory/Abalone
    Fretboard Material: Ebony
    Bridge: Hexaphonic Piezo Ebony
    Electronics: System 500
    Carmen? Carmen?
    Brand: Takamine
    Model: TC28C
    Series: Jasmine Classics
    Acoustic/electric cutaway classic with a full 4" body,
    25-1/2" scale and TK-4 preamp and in-bridge pickup.
    Nora? Nora?
    Brand: Alvarez
    Model: FD80BL Fusion Deluxe
    Body Style: Cutaway Thin Body Dreadnought
    Back & Sides: Maple
    Top: Flamed Maple
    Finish: Blue
    Soundhold Rosette: Abalone S
    Body Binding: White/Black Multi
    Fretboard Material: Rosewood
    Fretboard Inlay: 12th Fret Diagonal
    Bridge: Rosewood
    Tuning Machines: Chrome Die Cast
    Electronics: Standard System 500
    Shruti Box Shruti Box

    His right hand holds a Dunlop .60 mm nylon pick, which attacks Martin light-gauge strings. His trick for not breaking strings is to tear photographs into small bits and place them between the saddle and each pin. This method doesn't deaden the strings, he claims, and most important, it works - even with his aggressive strumming. On stage, his effects include a Boss chorus pedal and graphic EQ. He plugs directly into the PA, where he adds some reverb.
    (source: interview with Beth C. Fishkind)

    This information is probably not entirely correct. One of Luka's roadies says that they always rent a PA at the local venues. There seems to always be a PA on stage with Luka, hence this latter piece of information seems correct. (source: Wouter Bruijning)

    Luka uses a blue Alvarez, named Nora for studio recordings. (source: Wouter Bruijning)

    I found it very interesting that he doesn't play directly in the P.A., but he used a Trace Elliot bass amplifier with a 15'' speaker. When he hit the guitar, you could hear a sound like a bass drum coming from the speakers. Incredible ! He still had the "Super Chorus" and the graphic EQ from Boss, but he also uses a Digital Delay for Gabriel, along with the volume pedal. (source: Stefan Schwabe).

  6. How do you find the chords for a song?
    Long answer. The easiest way: try DsChordFinder. Although not very challenging and sportive, it does the job nicely.


    Back to Bloody Fingers All song transciptions found below are the author's own work and represents their interpretation of the song. You may only use this file for private study, scholarship, or research.

    These pages are maintained by Ronald Gelten (gelten@spamblock.wish.net) Comments and suggestions are welcome.