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It starts at 1.13 on this video
edit: apologies it wasn't clear that he demonstrates how to play Headmaster Ritual here in open E tuning, I used to play this many years ago in drop D with capo 2nd fret and it never sounded right
https://www.youtube.com/watch?v=UI96b_bTrnI
"its a deluxe with no vowels in it"
Erm, I think he means valves, Fender...
"I've got an Epiphone Coronet with one pickup, and I string it with the high strings from a 12-string set. It's a really zingy, trebly guitar. I used that on a lot of things that people think are 12-string, like the end of 'The Headmaster Ritual'... I wrote 'The Headmaster Ritual' on acoustic. It's in an open-D tuning with a capo at the 2nd fret. I fancied the idea of a strange Joni Mitchell tuning, and the actual progression is like what she would have done had she been an MC5 fan or a punk rocker. I knew pretty much what every guitar track would be before we started. There are two tracks of Martin D-28, and the main riff is two tracks of Rickenbacker. I wasn't thinking specifically of the Beatles' 'Day Tripper' -- even though it sounds like it -- but I did think of it as a George Harrison part. The Rickenbacker belonged to Phil Manzanera of Roxy Music; I'm told that it was originally owned by Roger McGuinn. All the guitars are in open tuning, except for one of the chorus guitars, which is done on an Epiphone in Nashville tuning [the four lower strings tuned an octave above standard pitch], capoed at the 2nd fret."
- Johnny Marr, Guitar Player, January 1990
"The nuts and bolts of The Headmaster Ritual came together during the first album, and I just carried on playing around with it. It started off as a very sublime sort of Joni Mitchell-esque chord figure; I played it to Morrissey but we never took it further. Then, as my life got more and more intense, so did the song. The bridge and the chorus part were originally for another song, but I put them together with the first part. That was unusual for me; normally I just hammer away at an idea until I've got a song. It's in open D turning, with a capo at the second fret. Again, it was heavily overdubbed."
- Johnny Marr, The Guitar Magazine, January 1997
Pretty sure the first article had a bit of tab from the intro of THR and it was in dropped D.