This unique tuning, named "Ross" after the acclaimed guitarist Don Ross, is a deep and resonant open tuning for the Guitar. It's designed to provide a rich, full sound with significant harmonic possibilities, characteristic of Don Ross's intricate fingerstyle compositions.

Technical Analysis

The open strings are tuned to C2 G2 C3 G3 A#4 C4. This tuning emphasizes the low end, with the 6th, 5th, 4th, and 1st strings all significantly lowered from standard EADGBe.

• Intervals from the lowest C: The tuning presents a powerful C5 power chord (C-G-C-G-C) across the 6th, 5th, 4th, 3rd, and 1st strings. The most distinctive feature is the A#4 (Bb4) on the 2nd string, which acts as a minor seventh relative to the root C.
• Harmonic Implications: This creates an open C dominant 7th (C7) quality, specifically a C5(b7) chord (C-G-Bb), even without a major third. This gives the tuning a strong bluesy or folk feel, allowing for both major and minor tonalities to be easily implied or achieved with minimal fretting.
• Movability: A key aspect of this tuning is its potential for movable chord shapes. The open C-G-C-G-A#-C structure, particularly the C-G-C-G-Bb-C (C5 with a b7), can be barre-fretted to create other dominant 7th voicings up and down the neck. For instance, fretting all strings at the 2nd fret would yield a D5(b7) (D-A-D-A-C#-D).
• Low End: The C2, G2, C3, G3 foundation provides a deep, resonant bass response, ideal for percussive playing, drone effects, and heavy fingerstyle arrangements.

Verbal Analysis & Playing Style

"Ross" tuning sounds rich and full, lending itself beautifully to open, ringing chords and intricate fingerstyle passages. The prominent low C makes it excellent for percussive techniques and driving bass lines, while the high C on the first string keeps the top end bright and articulate. The unexpected A# (Bb) on the second string adds a distinctive flavor, often associated with blues, jazz, or even some Celtic styles, providing a soulful and slightly melancholic edge that can be both powerful and delicate.

Chords like C5, C dominant 7th, and various suspended chords are readily available by simply strumming the open strings or lightly fretting. Due to the wide intervals and the distinct dominant 7th character, it encourages exploration of harmonies and melodies that might be less accessible in standard tuning. It's particularly well-suited for a player looking for a rich, expansive sound with a strong rhythmic foundation and unique melodic capabilities. Slide guitarists would also find this tuning highly expressive in the key of C.

Current Tuning Notes

• String 6: C2 (Low C)
• String 5: G2
• String 4: C3
• String 3: G3
• String 2: A#4 (Bb4)
• String 1: C4 (High C)

How to Tune (from Standard EADGBe)

• String 6 (Low E to C): Tune down 4 semitones to C2. Note: Tuning down 4 semitones is a significant change; consider using a heavier gauge string for optimal tone and tension.
• String 5 (A to G): Tune down 2 semitones to G2.
• String 4 (D to C): Tune down 2 semitones to C3.
• String 3 (G to G): Keep as is; no change (0 semitones) at G3.
• String 2 (B to A#): Tune down 1 semitone. This movement from a standard B3 string typically results in A#3. However, the target note for this tuning is specified as A#4. This implies a larger initial adjustment, such as raising the string an octave first, or the use of a very light gauge string to achieve such high tension. For the specified tuning, ensure the string ultimately reaches A#4.
• String 1 (High E to C): Tune down 4 semitones to C4. Note: Tuning down 4 semitones is a significant change; consider using a heavier gauge string for optimal tone and tension.