Overview

The "Glacier Bay C Extended" tuning is an expansive and deeply resonant 8-string guitar setup, originating from Dean Murphy's work on his song "Glacier Bay." It draws inspiration and heavily modifies Andy McKee's renowned 6-string C tuning (C G D# F A# D), expanding its sonic landscape with an extended low range and complex intervallic relationships suitable for a broad spectrum of musical expressions, from ambient soundscapes to progressive fingerstyle and heavy compositions.

Technical Analysis

This 8-string tuning presents the following open notes from lowest (String 8) to highest (String 1): C1, A#2, C2, G2, D#4, F3, A#4, D4.

This tuning is a significant adaptation of Andy McKee's 6-string C tuning (typically C G D# F A# D). While it retains the core pitches, it reconfigures them dramatically across the 8-string range and octaves. The most striking features include:

• Extended Low End: The lowest string is tuned to C1, an entire octave below the typical low C of Andy McKee's C tuning. This provides an exceptionally deep and resonant foundation.
• Wide Intervallic Jumps: The tuning exhibits unusually large octave displacements between several adjacent strings, creating unique harmonic possibilities but also demanding specific playing techniques. For instance:
  • String 8 (C1) to String 7 (A#2): A vast leap of 22 semitones (an octave and a minor seventh), suggesting the 7th string is intended for higher melodic or harmonic contributions rather than a direct linear extension.
  • String 5 (G2) to String 4 (D#4): Another significant jump of 21 semitones.
  • String 3 (F3) to String 2 (A#4): An upward leap of 18 semitones.
• Harmonic Content: The open strings contain the notes C, D, D#, F, G, A# (equivalent to C, D, Eb, F, G, Bb). This collection strongly implies a C minor tonality, potentially leaning towards C Dorian or even a C Phrygian Dominant depending on how additional notes are introduced.

Chords and Playability

The open string configuration itself does not form a simple, immediately recognizable chord, but rather a rich, complex sonority. The notes C, D, D#, F, G, A# provide a foundational palette ripe for sophisticated harmonies and textures.

• C minor 7th (Cm7): The notes C, D# (Eb), G, and A# (Bb) are all present in the open tuning. By strumming strings 8 (C1), 6 (C2), 5 (G2), and 7 (A#2) or 2 (A#4), you can easily achieve a resonant open C minor 7th chord. The presence of multiple octaves for C and A# allows for diverse voicings.
• Implied Scales: The blend of available notes hints at scales such as C Dorian (C-D-D#-F-G-A-A#-C) or even C Phrygian Dominant (C-D#-E-F-G-A#-B-C), providing a strong minor-key feel with potential for exotic or bluesy inflections through the D and D# interplay.
• Open String Harmonies and Drones: Due to the very wide and irregular intervals between some strings, traditional barre chords will be challenging or impossible across all eight strings. This tuning is optimized for intricate fingerstyle patterns, arpeggios that utilize the open strings as drones or pedal tones, and specific melodic voicings. The low C1 is perfect for creating deep, sustained bass notes that underpin complex harmonies on the higher strings.
• Melodic Opportunities: The alternating low and high pitches, combined with the presence of both natural and flatted notes (like D and D#), offers unique melodic contours and opportunities for dissonance and resolution that would be unavailable in more conventional tunings.

This tuning is a testament to creative exploration on the 8-string guitar, designed to elicit a specific mood and texture for complex, atmospheric compositions.

How to Tune: Glacier Bay C Extended

This section details the precise tuning adjustments for each string to achieve the "Glacier Bay C Extended" tuning. Please pay close attention to the semitone movements for each string to reach its target note.

• String 8 (Lowest String - C1): Tune down 6 semitones to reach C1.
• String 7 (A#2): Tune down 1 semitone to reach A#2.
• String 6 (C2): Tune down 4 semitones to reach C2.
• String 5 (G2): Tune down 2 semitones to reach G2.
• String 4 (D4#): Tune up 1 semitone to reach D4#.
• String 3 (F3): Tune down 2 semitones to reach F3.
• String 2 (A4#): Tune down 1 semitone to reach A4#.
• String 1 (Highest String - D4): Tune down 2 semitones to reach D4.

Important Considerations for String Gauge:

Please note the following recommendations regarding string tension and gauge, particularly for significant tuning changes:

• String 8 (C1): This string requires tuning down by 6 semitones. For such a significant drop in pitch, a heavier gauge string is strongly advised to maintain proper tension, intonation, and playability, and to prevent excessive slack or potential string breakage.
• String 6 (C2): Tuning down by 4 semitones places this string at the borderline where a different gauge may be beneficial. While it might hold tension on a standard gauge, a slightly heavier string could significantly improve stability and tone.
• For all other strings, the adjustments are within a range (1 to 2 semitones up or down) where standard string gauges are generally suitable. However, for optimal feel and sound, personal preference may still lead to experimentation with string types and gauges.
• As a general rule, when tuning exceeds negative 4 or positive 4 semitones from a string's intended standard pitch, using a different gauge string is advised. Tuning up significantly can put excessive stress on strings and the instrument, while tuning down significantly can result in very loose, flappy strings with poor intonation.