Tuning Analysis: Jeff Winwood

This unique tuning, named after Jeff Winwood, opens up a vast sonic landscape for guitarists. As described in the original notes, it's particularly suited for compositions requiring a wide scale, offering a deep C2 on the lowest string all the way up to a bright D4 on the highest. This extensive range makes it excellent for techniques like slapping and tapping, providing a dynamic contrast between the robust bass and the sparkling trebles. The suggestion of using a 5-string partial capo from the 3rd fret, leaving the low bass to ring, further highlights its versatility for experimental and layered soundscapes.

Technical Breakdown:

• Open String Notes: C2 - A2 - D3 - F#4 - G3 - D4 (Low to High)
• Interval Analysis:
  • String 6 (C2) to String 5 (A2): Major 6th (10 semitones) - A wide, open interval that creates a strong harmonic foundation.
  • String 5 (A2) to String 4 (D3): Perfect 4th (5 semitones) - A common and stable interval, providing familiarity.
  • String 4 (D3) to String 3 (F#4): Octave + Major 3rd (15 semitones) - A massive jump of nearly two octaves. This creates an incredibly expansive feel and contributes to the tuning's wide scale as described.
  • String 3 (F#4) to String 2 (G3): Minor 7th (11 semitones DOWN) - An unusual and significant descending interval. This sharp drop creates a non-linear string relationship, adding to the unique character and potentially challenging, yet rewarding, fingerings for arpeggios and melodic phrases.
  • String 2 (G3) to String 1 (D4): Perfect 5th (7 semitones) - A strong, consonant interval, rounding off the tuning.

The intervals are highly unconventional, particularly the large jump from D3 to F#4 followed by an even larger drop to G3. This non-linear string relationship encourages exploration beyond standard open chord shapes, making it ideal for arpeggiated figures, melodic tapping lines, and unique voicings. The open strings essentially present notes from a C major scale (C, D, G, A) with an F# that hints at a Lydian or G major tonality. This combination offers rich harmonic possibilities, such as implied Cmaj9(#11) or C6/9 type voicings if the F# is treated as an extension or passing tone. Chords like an open Dsus2 (D-G-D on strings 4,2,1) or a C6/9 (C-A-D on strings 6,5,4) can be readily formed or implied, providing a lush and open harmonic foundation.

How to Tune (from Standard EADGBe):

Please note that tuning significantly up or down (4 semitones or more) can affect string tension. While 4 semitones may be achievable, movements exceeding this, especially in the negative direction, might benefit from a different string gauge to maintain optimal playability and prevent excessive floppiness or breakage.

• String 6 (Low E): Tune down 4 semitones from its standard E2 pitch. This will result in C#2. (Caution: Tuning down 4 semitones is a significant adjustment; please tune carefully and check string tension.)
• String 5 (A): Keep as is; no change (0 semitones) from its standard A2 pitch.
• String 4 (D): Keep as is; no change (0 semitones) from its standard D3 pitch.
• String 3 (G): Tune down 1 semitone from its standard G3 pitch. This will result in F#3.
• String 2 (B): Tune down 4 semitones from its standard B3 pitch. This will result in G#3. (Caution: Tuning down 4 semitones is a significant adjustment; please tune carefully and check string tension.)
• String 1 (High E): Tune down 2 semitones from its standard E4 pitch. This will result in D4.

Open String Notes:

String 6: C2

String 5: A2

String 4: D3

String 3: F#4

String 2: G3

String 1: D4