Verbal Analysis

This tuning, which we've named 'C Major Alternating Intervals' and is rooted in the description 'Do 5-3', creates a resonant and harmonically rich soundscape when played open. It establishes a clear C major tonal center, yet its specific intervals introduce intriguing melodic and harmonic possibilities beyond a simple chord. The overall feel is open and bright, offering a lush canvas for fingerstyle arrangements, ambient soundscapes, or as a unique foundation for songwriting. The interplay of major thirds, perfect fifths, and a notable tritone suggests a versatile tuning capable of evoking both clear, major tonalities and more atmospheric or tension-filled passages. It’s particularly well-suited for exploring music rooted in C Major but with extended harmonies or a modal flavor, potentially leaning towards Lydian or even Mixolydian depending on melodic choices and fretted notes.

Technical Analysis

The open strings for this tuning are: C2 G2 B2 F3 A3 E4. Analyzing the intervals between adjacent strings reveals a unique construction:

• String 6 (C2) to String 5 (G2): Perfect Fifth (P5)
• String 5 (G2) to String 4 (B2): Major Third (M3)
• String 4 (B2) to String 3 (F3): Augmented Fourth (A4) / Tritone
• String 3 (F3) to String 2 (A3): Major Third (M3)
• String 2 (A3) to String 1 (E4): Perfect Fifth (P5)

The original description states the tuning aims to "Starting on Do in C Major, alternate fifth and third intervals." This pattern largely holds true for most string pairs (C-G, G-B, F-A, A-E). However, the interval between the 4th (B2) and 3rd (F3) strings is a tritone, which is a significant departure from a simple alternating fifth or third. This specific interval introduces a unique tension and harmonic interest to the open tuning.

The collection of notes (C, G, B, F, A, E) contains a complete C Major 7th chord (C, E, G, B) spread across the strings, augmented by the F and A notes. This allows for rich Cmaj7 voicings directly on the open strings or with minimal fretting. The presence of F and A alongside the Cmaj7 components suggests the tuning can easily imply a Cmaj7(add4, add6) or a C Lydian tonality (C-D-E-F#-G-A-B without the D). Open chords or easily accessible shapes include:

• C Major 7th (complex voicing): Strumming all six open strings (C-G-B-F-A-E) creates a dense, extended C major voicing that strongly implies Cmaj7, with the F and A adding color and texture. For a purer Cmaj7, avoiding the 3rd (F3) and 2nd (A3) strings (playing 6th, 5th, 4th, 1st strings) yields C-G-B-E, a clear Cmaj7.
• F Major (implied/partial): The F3 and A3 strings provide a strong F major root and third. Combined with the C2 on the 6th string, an Fsus2 or F major triad (C-F-A) is readily available.
• G Dominant 7th (components): The G2, B2, and F3 strings offer crucial components of a G7 chord (G-B-D-F). While the D is missing from the open strings, fretting for it would complete a powerful G7 voicing.

The varied intervals ensure that traditional chord shapes will be re-imagined, encouraging exploration of new voicings and melodic patterns unique to this setup, offering a fresh perspective for any guitarist.

Tuning Notes

The target notes for each string, from lowest (6th) to highest (1st), are:

• String 6: C2
• String 5: G2
• String 4: B2
• String 3: F3
• String 2: A3
• String 1: E4

How to Tune

To achieve the 'C Major Alternating Intervals' tuning from standard E Standard tuning (E-A-D-G-B-E), carefully adjust each string as follows:

• String 6 (Low E): Tune down 4 semitones from E2 to C2. (Note: Tuning down 4 semitones is a significant change. For optimal tone, intonation, and string tension, it's advisable to consider a heavier gauge string for the low E if this tuning is used frequently.)
• String 5 (A): Tune down 2 semitones from A2 to G2.
• String 4 (D): Tune down 3 semitones from D3 to B2.
• String 3 (G): Tune down 2 semitones from G3 to F3.
• String 2 (B): Tune down 2 semitones from B3 to A3.
• String 1 (High E): Keep as is; no change (0 semitones) from E4 to E4.