The Carl Kress tuning, named after the influential jazz guitarist, offers a unique and complex sonic landscape for the acoustic or electric guitar. This tuning deviates significantly from standard guitar tuning, fostering a sophisticated approach to harmony and melody, particularly suited for jazz improvisation and advanced chord voicings.

Verbal Analysis

Carl Kress's signature tuning reshapes the guitar into an instrument with a rich, open sound that encourages intricate chordal work and fluid single-note runs. It's often described as being 'cello-like' in its intervallic structure, specifically referring to sections tuned in perfect fifths. This gives it a deep resonance and allows for wider stretches on the fretboard compared to standard tuning. The non-standard intervals create unexpected harmonic possibilities, moving away from conventional guitar voicings and pushing players into fresh creative territory. The open strings themselves do not form a conventional chord, suggesting its primary use is not for simple strumming, but rather for advanced jazz harmonies and lead playing where specific voicings and arpeggios are built dynamically.

Technical Analysis

The tuning is structured as A2# - F2 - C3 - G3 - A3 - D4 (low to high string). As noted in its description, it's 'based on fifths – like a cello – except for the second string'. Let's break down the intervals between consecutive open strings:

• String 6 to String 5 (A2# to F2): Descending diminished 5th (or ascending perfect 4th if viewing F2 to A2#).
• String 5 to String 4 (F2 to C3): Perfect 5th. This begins the 'cello-like' section.
• String 4 to String 3 (C3 to G3): Perfect 5th. This continues the 'cello-like' section.
• String 3 to String 2 (G3 to A3): Major 2nd. This is a significant deviation from a purely fifths-based tuning, as described in the tuning's unique characteristic.
• String 2 to String 1 (A3 to D4): Perfect 4th.

The sequence F2-C3-G3 indeed forms a series of perfect fifths, reminiscent of a cello's lower strings (C-G-D). The presence of the Major 2nd (G3-A3) and Perfect 4th (A3-D4) introduces more common guitar-like intervals amidst the wider fifths, allowing for a blend of classical and contemporary harmonic approaches.

Open Chords & Voicings

When strummed open, the full set of strings (A2#-F2-C3-G3-A3-D4) creates a complex, dissonant sound that could be interpreted as a type of A# altered chord. It is not designed for simple open chord strumming in the vein of folk or rock music. However, this tuning excels in offering:

• Power Chords and Fifths: The F2-C3-G3 sequence makes it effortless to play open perfect fifths and power chords on these strings.
• Modern Jazz Voicings: The combination of perfect fifths, major seconds, and perfect fourths between strings lends itself well to forming wide, open, and often dissonant jazz voicings with minimal effort. For instance, the G3-A3 interval allows for easy access to clustered notes, while the A3-D4 interval is a standard guitar-like perfect fourth, familiar for many chord shapes.
• Arpeggios and Melodic Runs: The unique intervallic layout opens up new possibilities for arpeggio patterns and melodic scales, encouraging players to think beyond standard guitar fingerings.
• Bass-like Lines: The lower strings with their wider intervals (F2-C3-G3) can be exploited to create rich, resonant bass lines, especially effective for fingerstyle jazz.

This tuning is a tool for exploration, rewarding players who are willing to experiment with its unique geometry to discover new harmonic and melodic pathways on the guitar.

Tuning Notes

String 6: A2#
String 5: F2
String 4: C3
String 3: G3
String 2: A3
String 1: D4

How to Tune

• String 6 (lowest): Tune down 6 semitones to A2#. Warning: Tuning down 6 semitones is a significant change. Consider using a heavier gauge string if you plan to keep this tuning for an extended period to maintain proper tension and tone.
• String 5: Tune down 4 semitones to F2#. Warning: Tuning down 4 semitones is a notable change. For optimal performance and string life, a heavier gauge string might be beneficial.
• String 4: Tune down 2 semitones to C3.
• String 3: Keep as is; no change (0 semitones) to G3.
• String 2: Tune down 2 semitones to A3.
• String 1 (highest): Tune down 2 semitones to D4.