Tuning Analysis: C-41 - Turkish

The C-41 - Turkish tuning, specifically designed for the Guitar, is a deeply resonant and harmonically rich open tuning. It's explicitly described as a variation of Open C and is notably associated with the legendary fingerstyle guitarist Robbie Basho, suggesting its suitability for expressive, melodic, and possibly culturally inflected playing styles.

Verbal Analysis

This tuning immediately envelops the listener in a full-bodied, almost orchestral sound. The low C-G-C-G foundation on the bass strings provides immense depth and a powerful drone capability, making it ideal for creating a rich harmonic bed or for percussive rhythms. The distinct feature of this tuning is the inclusion of the B natural on the second string (normally G-string, but here a B). This transforms what would otherwise be a straightforward Open C into an Open Cmaj7, giving the tuning a unique character. It's bright and uplifting, yet carries a hint of sophisticated yearning or a contemplative quality, rather than a simple major feel. It sounds expansive, vibrant, and harmonically complex, lending itself beautifully to both intricate fingerpicking patterns and bold, resonant strumming. Players can expect excellent sustain and a natural acoustic resonance that allows melodies to sing clearly over a lush harmonic backdrop, perfect for creating atmospheric soundscapes or intricate folk arrangements.

Technical Analysis

• Instrument Type: Guitar
• Open Notes (Low to High, from 6th to 1st string): C1 - G1 - C2 - G3 - B3 - C4
• Intervals from Root (C): Beginning from the lowest C on the 6th string, the intervals are: Root (C), Perfect 5th (G), Octave (C), Perfect 5th (G), Major 7th (B), Octave (C). This intervallic structure of 1-5-8-5-7-8 creates a strong, full-voiced Cmaj7 chord across all open strings.
• Chord Structure: The collective sound of the open strings forms a C Major 7th chord (C-G-C-G-B-C). This means that simply strumming or plucking all open strings will produce a complete and beautiful Cmaj7 chord, making it an incredibly versatile tuning for compositions centered in C major or its related modes.
• Chord Accessibility:
  • Open Cmaj7: The entire open tuning naturally rings out a Cmaj7, providing an immediate, rich, and full-sounding chord.
  • Barre Chords: By barring all strings at any given fret, you will effortlessly create a major 7th chord corresponding to that fret (e.g., barring at the 2nd fret yields a Dmaj7, 3rd fret an Ebmaj7, and so on). This offers a wide and accessible range of movable major 7th voicings up the neck.
  • Related Chords: Due to the strong presence of C and G, chords like G major (the V chord) and F major (the IV chord) in the key of C may be more easily voiced with minimal fingerings, allowing for natural harmonic movement within the C major key. The consistent octaves and fifths also make powerful, resonant chords highly accessible across various frets.
  • Dominant 7th (C7): Achieving a C7 would require a specific finger placement to flatten the B (2nd string) to a Bb, as the open tuning presents a Cmaj7.

How to Tune

To achieve the C-41 - Turkish tuning from standard E-A-D-G-B-E, follow these precise string adjustments. Please pay careful attention to the number of semitones adjusted and note the recommendations for string gauge, particularly for significant tuning changes.

• 6th String (Low E to C1): Tune down 6 semitones. This is a significant drop in pitch, falling beyond 4 semitones. For sustained use and optimal tone, a heavier gauge string is strongly advised.
• 5th String (A to G1): Tune down 4 semitones. This is a considerable change in tension. Please exercise care during this adjustment.
• 4th String (D to C2): Tune down 9 semitones. This is a substantial drop in pitch, significantly exceeding 4 semitones. A heavier gauge string is highly recommended to maintain playability and tone quality.
• 3rd String (G to G3): Keep as is; no change (0 semitones). This string remains at its standard pitch.
• 2nd String (B to B3): Keep as is; no change (0 semitones). This string remains at its standard pitch.
• 1st String (High E to C4): Tune down 4 semitones. This is a notable change in tension. Please exercise caution during this tuning adjustment.

6th String: C1

5th String: G1

4th String: C2

3rd String: G3

2nd String: B3

1st String: C4