CGD#A#FC Guitar Tuner

CGD#A#FC | CGE♭B♭FC Cgd#a#fc - Guitar tuning, chords & scales

Description - Cgd#a#fc

jimi hendrix - hear my train a comin' (acoustic) jimi hendrix - hear my train a comin' (acoustic)

Verbal Analysis

This captivating tuning, famously associated with Jimi Hendrix's acoustic rendition of "Hear My Train A Comin'", offers a deep, resonant, and bluesy soundscape. It's a tuning that speaks volumes, evoking the raw, soulful essence of the blues and classic rock. Far from a standard open major or minor, this configuration creates a rich, somewhat dark, and complex harmonic foundation perfect for expressive playing. The low C and G strings provide a powerful, rumbling base, while the higher strings weave in melodic and harmonic tensions characteristic of Hendrix's innovative style. It’s particularly well-suited for slide guitar work, allowing for fluid melodic lines to glide over the resonant open strings. Players exploring this tuning will discover unique voicings for blues progressions and a fertile ground for developing distinctive riffs and soulful improvisations, especially those rooted in the C minor blues scale.

Technical Analysis

The tuning, from low to high, is C2 G2 D#3 A#3 F3 C4. This unique arrangement does not resolve to a simple open triad but instead forms a compelling C minor 7th chord with an added 4th (Cmin7add4 or Cm7sus4). The constituent notes are C, G, D#, A#, F, C, which can be analyzed as:

String 6 (C2): Root (C)
String 5 (G2): Perfect 5th (G)
String 4 (D#3): Minor 3rd (Eb)
String 3 (A#3): Minor 7th (Bb)
String 2 (F3): Perfect 4th (F)
String 1 (C4): Octave (C)

The presence of the minor third (D#) and minor seventh (A#) firmly establishes a minor tonality, while the perfect 5th (G) and octave (C) provide strong harmonic anchors. The F (perfect 4th) adds a suspended quality, contributing to the tuning's distinct bluesy character. While a full open C minor or C major triad isn't immediately available by simply strumming, the inherent Cm7add4 structure opens up possibilities for sophisticated blues and jazz voicings. Open C and G power chords are readily accessible on the lower strings, and partial chords can be easily formed to leverage the unique intervals. Barring at different frets will transpose this complex voicing, offering a rich palette for harmonic exploration.

Tuning Notes (Low to High)

String 6: C2 (Lowest string, typically E)
String 5: G2 (Typically A string)
String 4: D#3 (Typically D string)
String 3: A#3 (Typically G string)
String 2: F3 (Typically B string)
String 1: C4 (Highest string, typically E)

How to Tune (from Standard EADGBe)

String 6 (Low E): Tune down 4 semitones to C2.
String 5 (A): Tune down 2 semitones to G2.
String 4 (D): Tune up 1 semitone to D#3.
String 3 (G): Tune up 3 semitones to A#3.
String 2 (B): Tune down 6 semitones to F3. Caution: Tuning down 6 semitones is a significant change. If tuning with a standard B string, string tension may be very loose. For optimal performance and string life, consider a heavier gauge string for this position if playing frequently in this tuning.
String 1 (High E): Tune down 4 semitones to C4.