Verbal and Technical Analysis

The "CBDGBD" tuning is an imaginative and unique open tuning designed for creative exploration. As its creator describes, it allows for intriguing mirroring patterns across string sets, particularly hinting at the possibility of transferring shapes. It's also noted for being excellent for slide guitar, encouraging players to discover new harmonic possibilities and chord voicings through exploration, making it a fun tuning to pick around and find new sounds.

Technically, the open strings are tuned to C2 B2 D3 G3 B3 D4. This configuration creates a rich, open chord that can be interpreted as a Cmaj7(no 3rd, add9) or Cmaj7(sus2). The core notes of C, G, B, and D are present. Specifically, the notes G, B, and D on strings 4, 3, and 1 form an open G major triad, which sits atop the C root. The repetition of B (B2 on string 5 and B3 on string 2) and D (D3 on string 4 and D4 on string 1) across octaves creates a lush, resonant quality, providing a full and harmonically complex sound even when strummed open.

This tuning naturally lends itself to various chord shapes and musical styles:

• Open Cmaj7sus2/Cadd9 (no 3rd): The open strings themselves form this unique voicing, perfect for ambient or open-string compositions.
• G Major Triads: The G-B-D on the higher strings makes it easy to find G major chord voicings and arpeggios, especially when using a capo or slide.
• Slide Guitar Chords: As mentioned, the open nature and specific intervals are highly conducive to slide playing, allowing for fluid melodic lines and expressive glissandos across the fretboard. Barre chords will often yield interesting major 7th and suspended harmonies due to the underlying open string structure.
• Modal Explorations: The absence of a definitive major/minor third (E or Eb) in the open tuning leaves it open for various modal explorations, allowing the player to impose different harmonic flavors and create unique textures.

How to Tune

To achieve the CBDGBD tuning from standard EADGBe, follow these string adjustments:

• String 6 (Low E): Tune down 4 semitones from E2 to C2. Note: Tuning down 4 semitones is a significant change. If you plan to use this tuning frequently, considering a heavier gauge string for your low E might improve stability and tone.
• String 5 (A): Tune up 2 semitones from A2 to B2.
• String 4 (D): Keep as is; no change (0 semitones). Stays at D3.
• String 3 (G): Keep as is; no change (0 semitones). Stays at G3.
• String 2 (B): Keep as is; no change (0 semitones). Stays at B3.
• String 1 (High E): Tune down 2 semitones from E4 to D4.

String 6: C2
String 5: B2
String 4: D3
String 3: G3
String 2: B3
String 1: D4