Tuning Analysis: CGBF#GD

This unique tuning, aptly named CGBF#GD, is described as a fusion between the 'Vs Self' and 'DAEAC#E' tunings, suggesting an unconventional and experimental soundscape. It moves significantly away from standard EADGBe, with most strings tuned down, creating a deeper resonance and slacker string feel, particularly on the lower registers.

Verbal Analysis

The CGBF#GD tuning presents a rich, complex, and potentially dissonant sound when strummed open. The low C2 and G2 establish a deep, resonant foundation, creating a powerful, almost orchestral bass. The B2 adds a major seventh, giving the lower strings a sophisticated, open 'Cmaj7' quality. The most striking and unique element is the F#4 on the third string, creating a significant jump from the B2 below it. This high F#, coupled with the G3 and D4 on the top two strings, forms a bright, almost shimmering cluster that sits in stark contrast to the deep bass. This tuning evokes a spacious, ethereal, and somewhat avant-garde feel, perfect for creating ambient soundscapes, progressive rock, or modern fingerstyle pieces that explore tension and release. It offers a unique voice that can be both melancholic and uplifting, ideal for adventurous players seeking new sonic textures.

Technical Analysis

Starting from the lowest string (String 6) and moving upwards, the open notes are C2, G2, B2, F#4, G3, D4. Let's examine the intervals from the root (C2):

• String 6 (C2): Root
• String 5 (G2): Perfect 5th above C2
• String 4 (B2): Major 7th above C2
• String 3 (F#4): This F# is an Augmented 4th (tritone) above C2, but it sits two octaves higher, creating a very wide interval. Specifically, from B2 to F#4, it's a perfect 12th (an octave and a perfect 5th), which is highly unusual and contributes significantly to the tuning's open character.
• String 2 (G3): Perfect 5th above C2, one octave higher than G2.
• String 1 (D4): Major 9th (Major 2nd an octave up) above C2.

The open string combination (C-G-B-F#-G-D) closely resembles a C Major 9 chord with an augmented 4th (or #11). The most notable feature is the very wide interval between the 4th string (B2) and the 3rd string (F#4), spanning a perfect 12th. This significant leap contributes to the highly resonant and open quality of the tuning. The top three strings (F#4, G3, D4) form a tightly voiced cluster with complex harmonic implications, capable of suggesting Dsus2/4 or parts of a Gmaj7 chord, providing a bright, shimmering top end.

Chordal Possibilities

Due to its unique structure, this tuning opens up various chordal voicings and melodic opportunities:

• Open Voicings: A full strum of the open strings produces a rich, extended C chord with a strong Lydian or jazz-fusion character. The inherent dissonance of the F#4 can be embraced for modern compositions.
• Cmaj7/Cmaj9 Family: The C-G-B-D elements make various C major 7th and 9th voicings readily accessible, providing a sophisticated harmonic foundation.
• Drone Chords: The low C2 and G2 provide an excellent deep, sustained drone foundation for melodic exploration and improvisation on the higher strings.
• Upper String Clusters: The F#4, G3, and D4 on the top three strings can be manipulated with minimal effort to form tight, shimmering voicings, such as a Dsus2, a fragment of Gmaj7, or other unique melodic phrases.
• Modified Barre Chords: Traditional barre chord shapes will need significant adjustment due to the altered intervals, but this encourages experimentation to discover new, interesting shapes that leverage the tuning's distinctive open strings and wide intervals.

Open String Notes & How to Tune

Here are the target notes for each string in this CGBF#GD tuning, along with instructions on how to adjust your guitar from standard EADGBe tuning. Please pay close attention to the tuning movements, especially for significant drops or raises, as these can affect string tension and potentially require different string gauges.

Target Notes:

• String 6 (Low E): C2
• String 5 (A): G2
• String 4 (D): B2
• String 3 (G): F4#
• String 2 (B): G3
• String 1 (High E): D4

How to Tune from Standard EADGBe:

• String 6 (E): Tune down 4 semitones to C2. (E2 → C2)
• String 5 (A): Tune down 2 semitones to G2. (A2 → G2)
• String 4 (D): Tune down 3 semitones to B2. (D3 → B2)
• String 3 (G): Tune down 1 semitone to F#3. (G3 → F#3) Important Note: The target note for String 3 listed above is F4#, which is an octave higher than the F#3 that results from tuning G3 down 1 semitone. Tuning a standard G3 string up 11 semitones to reach F4# is an extreme tension change and could cause string breakage or neck damage. This would likely require a significantly lighter gauge string. For typical setups, following the 'tune down 1 semitone' instruction will result in F#3. Please proceed with extreme caution if attempting F4# and consider consulting a luthier.
• String 2 (B): Tune down 4 semitones to G3. (B3 → G3)
• String 1 (E): Tune down 2 semitones to D4. (E4 → D4)

General Tuning Advisory:
Tuning changes exceeding 4 semitones (up or down) can significantly alter string tension, potentially putting undue stress on your guitar strings, bridge, and neck. For any movements greater than this, especially tuning up multiple semitones, a different string gauge is strongly advised to prevent damage or breakage. Always tune slowly and carefully, listening for any signs of excessive tension.