This tuning is identified as New Standard tuning (NST). The original description suggests an approximation of all-fifths tuning with successive perfect-fifth intervals, commonly associated with Robert Fripp's NST (CGDAEG).

However, the specific notes provided for this tuning, C2 G2 C3 D3 E4 G4, present a unique interval structure that deviates from a strict all-fifths arrangement. While the lowest two strings (C2 to G2) form a perfect fifth, the subsequent intervals are a perfect fourth (G2 to C3), a major second (C3 to D3), a major ninth (D3 to E4), and a minor third (E4 to G4).

Technical Analysis:

• The open strings C2 G2 C3 D3 E4 G4, when played together, form a rich C major 6/9 chord (C, D, E, G). This provides a strong harmonic foundation for C major based compositions, with the open D and E adding color and extension.
• The wide intervals, particularly the Major 9th (D3 to E4) between the 3rd and 2nd strings, will create an expansive and open sound, allowing for unique voicings and arpeggios that span a significant range across the fretboard.
• The repetition of C (strings 6 & 4) and G (strings 5 & 1) reinforces the C tonality, while the E (string 2) clearly establishes the major quality.
• This tuning is well-suited for progressive rock, ambient soundscapes, and jazz fusion, offering a fresh harmonic palette and an extensive melodic range.

Open Chords & Shapes:

• As mentioned, playing all open strings yields a vibrant Cmaj6/9 chord.
• The unique intervallic structure means that standard chord forms will require significant re-fingering to adapt. The wide stretch between the 3rd and 2nd strings, for instance, makes many traditional chord shapes impossible or challenging.
• Power chords built on the lower strings (C-G-C) will be very resonant and powerful.
• Due to the open C, G, E, and D notes, triads and arpeggios that utilize these open strings can create very full and resonant textures. Experimentation with single-string melodies and two-note voicings will likely be very rewarding due to the unique intervallic relationships and spread of notes.

Here are the specific notes for each string in this tuning:

• String 6: C2 (Low C)
• String 5: G2
• String 4: C3
• String 3: D3
• String 2: E4
• String 1: G4 (High G)

How to Tune:

To achieve the New Standard tuning (NST) from standard EADGBe, follow these string movements:

• String 6 (Low E): Tune down 4 semitones to C2.
• String 5 (A): Tune down 2 semitones to G2.
• String 4 (D): Tune down 2 semitones to C3.
• String 3 (G): Tune down 5 semitones to D3. (Caution: Tuning down 5 semitones is a significant drop. Consider using a heavier gauge string to maintain appropriate tension and tone.)
• String 2 (B): Tune up 5 semitones to E4. (Caution: Tuning up 5 semitones is a substantial increase in tension. This may put significant stress on the string and potentially lead to breakage. A lighter gauge string is strongly advised for this string.)
• String 1 (High E): Tune up 3 semitones to G4.