Tuning Overview: Martin Carthy Tuning (C-G-C-D-G-D)

The Martin Carthy Tuning, named after the legendary English folk guitarist, is a distinctive open tuning that Carthy himself arrived at after experimenting with DADGAD. He employs this resonant setup in several of his notable recordings, including his excellent rendition of 'The Famous Flower of Serving Men'. This tuning provides a rich, droning texture that is perfectly suited for traditional folk melodies and intricate fingerstyle arrangements.

Technical Analysis of C-G-C-D-G-D

This unique open tuning sets the guitar strings to C2-G2-C3-D3-G3-D4 from low to high (6th to 1st string). Its intervallic structure presents a compelling blend of open intervals:

• 6th String (C2) to 5th String (G2): Perfect 5th (7 semitones)
• 5th String (G2) to 4th String (C3): Perfect 4th (5 semitones)
• 4th String (C3) to 3rd String (D3): Major 2nd (2 semitones)
• 3rd String (D3) to 2nd String (G3): Perfect 4th (5 semitones)
• 2nd String (G3) to 1st String (D4): Perfect 5th (7 semitones)

The open strings fundamentally form a rich, C-based sound. Strumming all strings yields a resonant Cadd9sus4 or Cmaj9sus4 chord. The presence of the D notes (on the 3rd and 1st strings) creates a distinctive suspended or modal quality, preventing a straightforward major or minor tonality and instead offering a sound rich in overtones, ideal for open and drone-based playing styles. The tuning creates a strong harmonic foundation with ample room for melodic exploration, making it highly expressive.

Chords and Playability

The C-G-C-D-G-D tuning significantly reconfigures the fretboard, offering new chord voicings and melodic possibilities:

• Open Strum: An immediate and powerful Cadd9sus4 chord rings out when all open strings are strummed, providing a full, resonant backdrop.
• Barre Chords: The open string structure lends itself well to barre chords that maintain the intervallic relationships. For instance, a full barre across all strings at the 2nd fret will produce a Dsus2/Dadd9 type chord (D-A-D-E-A-E). Similarly, barring at the 7th fret yields a Gsus2/Gadd9 (G-D-G-A-D-A). These are not conventional major/minor shapes but are highly effective for modal and folk music.
• Within Reach Chords: The tight Major 2nd interval between the 4th (C3) and 3rd (D3) strings, followed by a Perfect 4th to the 2nd (G3) string, allows for easy formation of suspended chords and drones. For example, fretting the 3rd string at the 2nd fret to make an E, while keeping the 4th (C), 2nd (G), and 1st (D) strings open, creates a beautiful Cmaj9 voicing. The tuning encourages fingerstyle patterns that emphasize the open drones and the interplay between the D and G notes, giving a distinctive folky or modal character to compositions.

How to Tune to C-G-C-D-G-D (Martin Carthy Tuning)

This tuning requires significant adjustments from standard E-A-D-G-B-E tuning. Please exercise caution, particularly with the larger drops in pitch. As a general guideline, if a string needs to be tuned down by more than 4 semitones, or up by more than 3-4 semitones, considering a different gauge string is advisable to maintain optimal tension and prevent string damage. For this tuning, several strings fall into this category:

• 6th String (Low E): Tune down 4 semitones to C2.
• 5th String (A): Tune down 2 semitones to G2.
• 4th String (D): Tune down 2 semitones to C3.
• 3rd String (G): Tune down 5 semitones to D3. This is a substantial drop; extreme care should be taken. You might consider a heavier gauge for this string.
• 2nd String (B): Tune down 4 semitones to G3.
• 1st String (High E): Tune down 2 semitones to D4.

Given the significant pitch changes, especially the -5 semitone drop for the 3rd string and the -4 semitone drops for the 6th and 2nd strings, you will likely experience considerably looser string tension than in standard tuning. For regular use or professional performance, experimenting with heavier string gauges for the affected strings could greatly improve sustain, tone, and overall playability, though Martin Carthy himself is known to have used standard gauges.

6th String: Tuned to C2 (The lowest C, two octaves below 'Middle C').

5th String: Tuned to G2 (The G one octave and a perfect fifth below 'Middle C').

4th String: Tuned to C3 (The C one octave below 'Middle C').

3rd String: Tuned to D3 (The D one octave below 'Middle C', a major second above C3).

2nd String: Tuned to G3 (The G a perfect fifth below 'Middle C').

1st String: Tuned to D4 (The D just above 'Middle C').