Tuning Analysis: cgdf#be

The cgdf#be tuning, as its creator aptly noted, feels like a result of "just messing around" – yet it yields a surprisingly resonant and harmonically rich landscape. This tuning deviates significantly from standard EADGBe, especially on the lower strings, opening up new sonic possibilities.

Technical Breakdown:

• Low End Foundation: The bottom three strings are tuned to C2-G2-D3. This creates a powerful and open stack of perfect fifths (C-G, G-D), providing a deep, resonant foundation reminiscent of drop tunings but with an extended range.
• Mid-Range Character: The D3 to F#3 interval (a major third) on the 4th and 3rd strings immediately introduces a bright, major quality. This F# is a key defining note, pushing the harmony towards a Lydian or major sound.
• Upper Register: The top two strings (B3-E4) remain in standard perfect fourths, providing familiar shapes for melodies and higher voicings, contrasting with the more experimental lower strings.
• Open String Harmony: The full open tuning spells out C-G-D-F#-B-E. These notes – C, D, E, F#, G, B – are all found within the C Lydian scale (C D E F# G A B). This configuration therefore strongly suggests an open Cmaj7#11 chord (C E G B D F#). This provides a very bright, ethereal, and harmonically rich open chord that rings beautifully, suitable for ambient, jazz-fusion, or experimental genres.

Playing Potential:

Due to the C-G-D open fifths, power chords are readily available on the lower strings by simply barring across the 6th, 5th, and 4th strings. The presence of F# on the 3rd string means that D major and G major voicings will sound particularly vibrant. The inherent Cmaj7#11 quality of the open strings offers a rich harmonic canvas, encouraging open strumming and arpeggios that highlight its unique, shimmering character. Experiment with drone notes on the lower C and G strings while exploring melodies on the upper D-F#-B-E strings for evocative textures.

How to Tune:

To achieve the cgdf#be tuning from standard EADGBe, follow these string adjustments:

• 6th String (Low E): Tune down 4 semitones from E2 to C2. Caution: Tuning down 4 semitones significantly lowers string tension. While this movement is at the threshold for requiring a different gauge string, for optimal playability and intonation, especially with sustained use, considering a slightly heavier gauge string for the low E is recommended.
• 5th String (A): Tune down 2 semitones from A2 to G2.
• 4th String (D): Keep as is; no change (0 semitones), remains D3.
• 3rd String (G): Tune down 1 semitone from G3 to F#3.
• 2nd String (B): Keep as is; no change (0 semitones), remains B3.
• 1st String (High E): Keep as is; no change (0 semitones), remains E4.

6th String: C2 (Low C)
5th String: G2
4th String: D3
3rd String: F#3
2nd String: B3
1st String: E4 (High E)