Tuning Analysis: Dobby's Resonant Drop C

This is a unique and intriguing custom tuning for a Guitar, as conceived by YouTube creator "@Dobby240" for their series on open tunings. Named "CGEF#Gc" by its creator, this tuning offers a distinct harmonic landscape, moving significantly away from standard guitar tuning to unlock new creative possibilities.

Verbal Description

"Dobby's Resonant Drop C" plunges the guitar into a deep, rich sonic territory, anchored by a low C. The bottom three strings (C2-G2-E2) lay down a strong foundation that hints at a C major chord, providing a natural resonance when strummed open. However, the presence of the F#4 on the third string introduces an unexpected brightness and a touch of the exotic. This F# acts as a beautiful, tension-building interval against the C major framework, giving the tuning a Lydian or even slightly dissonant character that begs for exploration. The top strings (F#4-G3-C4) are tightly packed in terms of pitch relative to the vast jump from the E2, creating a sparkling, almost bell-like quality in the higher register. It’s a tuning designed for expressive songwriting, capable of both vast, open harmonies and intricate, surprising melodies.

Technical Analysis

The open notes of this tuning are C2, G2, E2, F#4, G3, C4 (from low E to high E string). Let's break down its structure:

• Root and Bass: The lowest string is tuned to C2, offering a powerful, deep bass foundation, reminiscent of Drop C tunings but with a unique chordal structure above it.
• Open Chord Voicing: Ignoring the F#4 for a moment, the notes C2-G2-E2-G3-C4 create a robust C Major chord (C-E-G). This suggests that strumming the open strings (excluding the 3rd string) or fretting around C Major voicings will feel very natural and resonant.
• The Lydian Element: The F#4 on the third string is the standout feature. Relative to the C root, F# is an augmented fourth or tritone. This interval is characteristic of the Lydian mode (C Lydian: C-D-E-F#-G-A-B). Playing over this tuning could naturally lead to brighter, more ethereal melodic ideas. It also creates a tension that can be resolved or embraced for a unique sound.
• Interval Spacing:
  • String 6 (C2) to String 5 (G2): Perfect Fifth (7 semitones).
  • String 5 (G2) to String 4 (E2): Major Sixth (9 semitones, downwards from G2 to E2) or Minor Third (upwards from E2 to G2).
  • String 4 (E2) to String 3 (F#4): This is a massive interval jump of 26 semitones (two octaves and a whole step). This extreme jump creates a wide, non-linear harmonic texture that can be challenging yet rewarding for lead lines and chord voicings.
  • String 3 (F#4) to String 2 (G3): Minor Seventh (10 semitones, downwards from F#4 to G3). This represents an octave drop plus a semitone (F#4 to F#3 is 12 semitones, F#3 to G3 is 1 semitone).
  • String 2 (G3) to String 1 (C4): Perfect Fourth (5 semitones).
• Discrepancy Note: It's important to highlight a discrepancy between the target note provided (F#4) for the 3rd string and the specified tuning movement ("Tune down 1 semitones" from standard G3). Tuning G3 down 1 semitone results in F#3, not F#4. Achieving F#4 from G3 would typically require tuning *up* 11 semitones (nearly an octave). Players should be mindful of this when tuning and verify their desired target octave for the 3rd string. For this analysis, we proceed with the explicit target note of F#4 as given for the open tuning description, while noting the contradiction in the tuning instructions.

Chords and Playability

Given the open tuning, several chords and melodic shapes become immediately accessible:

• Open C Major: By either muting the 3rd string or accepting its Lydian character, a powerful C Major chord is readily available across the lower and upper strings (C2-G2-E2-G3-C4). Barre an entire fret will yield C Major and its inversions/extensions up the neck.
• Lydian Harmony: The F# makes this tuning ideal for exploring C Lydian scales and harmonies. Experiment with melodies that emphasize the F# over the C major backdrop for a bright, optimistic, and slightly dreamy sound.
• Dominant 7th Chords: Fret the 3rd string (F#4) up 1 semitone to G4 and the 2nd string (G3) up 4 semitones to B3 (or leave it at G3 for Cmaj7sus4) and the 1st string (C4) down 2 semitones to Bb3 to get a C7 or Cmaj7 shape. This might require some fretboard acrobatics, but the strong C root makes dominant harmonies compelling.
• Power Chords: The low C2-G2 pairing allows for powerful root-fifth chords to be easily played on the bottom two strings, which can then be extended with other open strings or fretted notes.
• Unique Arpeggios: The wide interval between the 4th (E2) and 3rd (F#4) strings creates opportunities for striking arpeggios that span a vast range with minimal left-hand movement.

How to Tune (from Standard EADGBe)

All strings in this tuning are lowered, with significant drops on several strings. Please exercise caution when tuning, especially with large downward movements, as string tension changes can affect your guitar's neck relief. For movements exceeding 4 semitones (down or up), considering a different string gauge is advisable for optimal playability and intonation.

• 6th String (Low E): Tune down 4 semitones from standard E2 to C2. (This is a significant drop; exercise care. A different gauge string may be advised if this is a permanent tuning).
• 5th String (A): Tune down 2 semitones from standard A2 to G2.
• 4th String (D): Tune down 10 semitones from standard D3 to E2. (This is a very large drop, more than an octave. A different string gauge is strongly advised to prevent string floppiness and intonation issues).
• 3rd String (G): Tune down 1 semitone from standard G3 to F#3. (Note: As mentioned in the technical analysis, the target note for this string is F#4, which is an octave higher than F#3. Tuning down 1 semitone from G3 will result in F#3. Please verify your desired octave for this string).
• 2nd String (B): Tune down 4 semitones from standard B3 to G3. (This is a significant drop; exercise care. A different gauge string may be advised if this is a permanent tuning).
• 1st String (High E): Tune down 4 semitones from standard E4 to C4. (This is a significant drop; exercise care. A different gauge string may be advised if this is a permanent tuning).

The open strings for this tuning are:

• 6th String (Low E): C2
• 5th String (A): G2
• 4th String (D): E2
• 3rd String (G): F#4
• 2nd String (B): G3
• 1st String (High E): C4