About the Covenbrook Tuning

The "Covenbrook" tuning, notably associated with Liza Blaise, is a unique and deeply atmospheric setup for the Guitar. It is meticulously crafted to resonate within the shoegaze genre, offering a sonic canvas ripe for lush soundscapes, expansive textures, and deep, often melancholic, harmonic foundations.

Technical Analysis

The open strings are tuned to C2 G2 C3 F3 A#4 A#4, from the lowest (6th) to the highest (1st) string. This configuration creates a rich and complex harmonic structure:

• The bottom three strings (C2, G2, C3) establish a powerful and resonant C5 power chord, providing a dark and solid foundation.
• The fourth string, tuned to F3, introduces a suspended 4th (Csus4) quality, or can be seen as the root of an F chord in a C context.
• Perhaps the most distinctive feature is the unison tuning of the top two strings to A#4 (Bb4). This A# acts as the minor seventh of C, effectively shaping the open strings into a complex C7sus4 (C-G-C-F-Bb-Bb) chord with a doubled minor seventh.

Verbal Description & Open Chord Possibilities

This tuning is a goldmine for shoegaze practitioners, offering a sound that is simultaneously deep, spacious, and slightly yearning. It encourages a playing style focused on texture, sustain, and harmonic movement rather than intricate lead lines.

• Open Strum: Strumming all open strings produces a massive and moody C7sus4 (C-G-C-F-Bb-Bb) chord. This provides an instant atmospheric wash, ideal for slow, evolving chord progressions and sustained pads.
• Power Chords: The bottom three strings alone (C-G-C) form a strong C5 power chord. Barring across these strings at different frets allows for easy creation of other resonant power chords up and down the neck.
• Drones & Harmonics: The unison A# on the top two strings is perfectly suited for creating sustained drones, shimmering natural harmonics, or melodic lines that can float above a dense chordal accompaniment.
• Modal & Ambient Play: The open and ambiguous harmonic nature of this tuning, with its emphasis on 4ths and 5ths, lends itself exceptionally well to modal improvisation, creating sustained, ambient soundscapes, and exploring sonic textures.

How to Tune (from Standard EADGBe)

This tuning requires significant adjustments from standard EADGBe. Please exercise caution, especially with the more drastic changes, and consider using heavier gauge strings for optimal tension and tone, particularly where advised.

• 6th String (Low E to C2): Tune down 4 semitones. Caution: Tuning down 4 semitones is a significant drop; a heavier gauge string is strongly advised for proper tension and sound quality.
• 5th String (A to G2): Tune down 2 semitones.
• 4th String (D to C3): Tune down 2 semitones.
• 3rd String (G to F3): Tune down 2 semitones.
• 2nd String (B to A#4): Tune down 1 semitones.
• 1st String (High e to A#4): Tune down 6 semitones. Caution: Tuning down 6 semitones is a very significant drop; a heavier gauge string is strongly advised to prevent floppiness and ensure good tone and intonation.

6th String: C2

5th String: G2

4th String: C3

3rd String: F3

2nd String: A#4

1st String: A#4