Verbal Analysis

The CGCFC tuning, famously associated with Elliot Smith and featured in his song "Coast to Coast," offers a deeply resonant and somewhat melancholic soundscape. This tuning drops most strings significantly, creating a slacker feel and a darker timbre compared to standard EADGBe. The prevalence of C notes across the tuning (C2, C3, C4) provides a strong, foundational root, while the G2 (perfect fifth) and F3 (perfect fourth) introduce a beautiful suspension, giving the open strum a rich, yearning quality. It's a tuning that encourages open string drones and provides a unique harmonic palette, perfect for intricate fingerstyle or emotionally charged chord voicings. The overall lower tension on most strings allows for expressive bends and a relaxed playing feel, characteristic of Smith's intimate style.

Technical Analysis

This 5-string tuning (from lowest to highest specified string) sets up a C sus4 voicing with doubled roots and a fifth: C2-G2-C3-F3-C4. The intervals from the lowest C are: Root (C2), Perfect 5th (G2), Octave (C3), Perfect 4th (F3), Octave (C4). This creates an immediate C sus4 chord when strummed open, giving it a full, ambient sound. The consistent C and G notes make power chords and root-fifth shapes incredibly accessible across the lower strings. For instance, simply barring across the fretboard will yield various suspended 4th chords (e.g., barring at the 2nd fret gives a D sus4, at the 3rd fret an Eb sus4, etc.). The tension across the strings is generally lower than standard, particularly on the lower strings, which affects sustain and playability, often resulting in a mellower attack.

Open Chords & Reachable Shapes

• Open Strum: Produces a rich C sus4 chord (C-G-C-F-C), full of character and resonance.
• Barre Chords: Easily create suspended 4th chords by barring all five strings at any fret. For example, a 1st fret barre creates C#sus4, a 5th fret barre creates Fsus4.
• Power Chords: The C-G-C structure on the lower strings makes it simple to form C5 power chords or variations by using just two or three fingers.
• Unique Voicings: The open F (string 2) allows for interesting melodic and harmonic interplay with the surrounding C and G notes, facilitating unique major, minor, and altered chord voicings that are difficult to achieve in standard tuning.

How to Tune

To achieve the CGCFC tuning, you will adjust your strings from standard EADGBe as follows. Please use a reliable tuner and proceed carefully, especially with significant string tension changes:

• Lowest String (Standard 6th String, Low E): Tune down 4 semitones from E2 to C2. Caution: Tuning down 4 semitones is a significant change. For optimal tension and tone, especially if frequently using this tuning, a heavier gauge string might be advised.
• Second Lowest String (Standard 5th String, A): Tune down 2 semitones from A2 to G2.
• Middle String (Standard 4th String, D): Tune down 2 semitones from D3 to C3.
• Second Highest String (Standard 3rd String, G): Tune down 2 semitones from G3 to F3.
• Highest String (Standard 2nd String, B): Tune up 1 semitone from B3 to C4. This is a minor adjustment and should be safe for standard strings.

Note: This tuning specifically defines 5 strings. The highest standard E string (1st string) is not part of the specified tuning and can either be left in standard E, tuned to a complementary note, or simply muted/unused as per your preference.

The tuning notes for CGCFC are as follows (from lowest to highest pitched string, with their standard string equivalents):

• String 5: C2 (Standard 6th String, Low E)
• String 4: G2 (Standard 5th String, A)
• String 3: C3 (Standard 4th String, D)
• String 2: F3 (Standard 3rd String, G)
• String 1: C4 (Standard 2nd String, B)