The CGCDGA tuning is a distinctive and deeply resonant alternative tuning, often favored in traditional folk music for its rich, droning qualities and unique harmonic possibilities. This particular arrangement is noted for its use by legendary folk guitarist Martin Carthy for the traditional English folk song 'Death and the Lady'. It offers a fresh sonic landscape compared to standard tuning, encouraging different fingering patterns and musical approaches.

Technical Analysis

• Open Notes: The open strings are tuned to C2-G2-C3-D3-G3-A3, from lowest to highest.
• Intervals: The intervals between the strings are as follows:
  • 6th to 5th (C2 to G2): Perfect 5th
  • 5th to 4th (G2 to C3): Perfect 4th
  • 4th to 3rd (C3 to D3): Major 2nd
  • 3rd to 2nd (D3 to G3): Perfect 4th
  • 2nd to 1st (G3 to A3): Major 2nd
• Overall Character: This tuning is characterized by a significantly lowered overall pitch, with several strings tuned down by a full fourth or more. The prominent C-G-C (root-fifth-octave) structure on the three lowest strings provides a strong, resonant foundation, creating an immediate sense of an open C power chord. The addition of D and A in the higher strings introduces modal flavors, suggesting a C Lydian or C Mixolydian influence, depending on how these notes are harmonized.

Open Chords and Accessibility

While the open strings don't form a simple major or minor triad, the CGCDGA tuning is exceptionally rich for specific voicings:

• C Power Chord: The lowest three strings (C2-G2-C3) naturally form a powerful C5 chord, providing a deep, resonant drone.
• G Power Chord: The 5th, 3rd, and 2nd strings (G2-D3-G3) offer a similar G5 power chord, easily accessible and resonant.
• C6 Voicings: The combination of C2, G2, C3, and A3 (6th, 5th, 4th, 1st strings) allows for various C6-like voicings with minimal effort, adding a characteristic folk sound.
• Droning Potential: The open fifths and fourths across the tuning make it ideal for droning techniques, allowing for intricate melodic lines to be played over sustained harmonic foundations.
• Modal Exploration: The inclusion of the D and A notes within a C-centric framework opens up opportunities for exploring modes such as C Lydian (C-D-E-F#-G-A-B) or C Mixolydian (C-D-E-F-G-A-Bb) depending on fretted notes.

This tuning invites players to think beyond standard chord shapes, encouraging the use of open strings for resonance and exploiting the unique intervals for melodic and harmonic invention. It's particularly well-suited for fingerstyle playing and intricate counterpoint typical of traditional folk and Celtic music.

Sourced from this video: https://www.youtube.com/watch?v=H44uxYMFb4Q&ab_channel=TheFolkRevivalProject

How to Tune to CGCDGA

This tuning requires significant adjustments from standard EADGBe tuning, with all strings tuned down. Please note the recommended string gauge advice for strings tuned down 4 semitones or more to ensure optimal tension and tone.

• String 6 (Low E): Tune down 4 semitones from E2 to C2. *Consider a heavier gauge string for optimal performance and tension.*
• String 5 (A): Tune down 2 semitones from A2 to G2.
• String 4 (D): Tune down 2 semitones from D3 to C3.
• String 3 (G): Tune down 5 semitones from G3 to D3. *A heavier gauge string is strongly advised for optimal performance and to maintain suitable tension.*
• String 2 (B): Tune down 4 semitones from B3 to G3. *Consider a heavier gauge string for optimal performance and tension.*
• String 1 (High E): Tune down 7 semitones from E4 to A3. *A significantly heavier gauge string is strongly advised, potentially an entire set designed for lower tunings, to ensure proper tension and prevent breakage or buzzing.*

Always tune carefully and gradually to avoid string breakage, especially when making large pitch changes. After tuning, check intonation as significant drops can affect it.