Verbal Analysis

This unique 'Cathy' tuning, also known as the Covenbrook Alternate Tuning 3, presents a lush and resonant soundscape, particularly suited for folk and acoustic styles. The open strings immediately resolve into a rich C# Major 9th chord, creating a beautifully expansive and harmonically complex foundation. Its deep, open voicings lend themselves to fingerstyle playing, droning melodies, and modal explorations. The generous spread of notes across the fretboard, especially with the low C# and D#, offers a broad palette for bass lines and intricate harmonic textures, evoking a sense of calm and depth, perfect for storytelling or atmospheric compositions.

Technical Analysis

This is a Guitar tuning, with the open strings set to:

• String 6 (Low E): C#3
• String 5 (A): D#3
• String 4 (D): G#3
• String 3 (G): C#4
• String 2 (B): F3
• String 1 (High E): C4

The most striking feature of this tuning is that the open strings form a complete C# Major 9th chord. Breaking down the notes: C#3 (Root), D#3 (Major 9th), G#3 (Perfect 5th), C#4 (Octave/Root), F3 (Enharmonically E#3, Major 3rd), and C4 (Enharmonically B#3, Major 7th). This means that simply strumming the open strings produces a rich, full, and complex C# Major 9th chord, providing an immediate harmonic foundation.

The arrangement of notes also facilitates several common chord shapes. Chords based around C# and its relatives will be particularly accessible. For instance, moving simple chord shapes up and down the neck will often reveal interesting inversions or extended voicings of C#-related chords. The intervals between strings vary:

• String 6 (C#3) to String 5 (D#3): Major 2nd (2 semitones)
• String 5 (D#3) to String 4 (G#3): Perfect 4th (5 semitones)
• String 4 (G#3) to String 3 (C#4): Perfect 4th (5 semitones)
• String 3 (C#4) to String 2 (F3): Re-entrant tuning - String 2 is pitched lower than String 3. The interval from F3 (String 2) up to C#4 (String 3) is an Augmented 4th (6 semitones).
• String 2 (F3) to String 1 (C4): Perfect 5th (7 semitones)

The re-entrant nature between strings 3 and 2 opens up interesting melodic possibilities and chord voicings not typically found in standard tuning, where strings always ascend in pitch. The prevalence of 4ths and 5ths between the lower strings (5, 4, 3) makes for easy power chords and open, resonant voicings, while the Major 2nd between 6 and 5 adds a unique flavour. The perfect 5th between 2 and 1 offers classic rock/folk voicings.

How to Tune (from Standard EADGBe)

Achieving this tuning requires significant adjustments from standard EADGBe. Please observe the following instructions carefully. For movements exceeding 4 semitones up or down, considering a different gauge string is strongly advised for optimal playability, intonation, and to prevent potential damage to your instrument's strings or neck tension.

• String 6 (Low E, E2): Tune down 3 semitones to C#3. This movement is within a range that generally requires careful tuning.
• String 5 (A, A2): Tune down 6 semitones to D#3. This significant drop strongly advises considering a different gauge string.
• String 4 (D, D3): Tune down 6 semitones to G#3. This significant drop strongly advises considering a different gauge string.
• String 3 (G, G3): Tune down 6 semitones to C#4. This significant drop strongly advises considering a different gauge string.
• String 2 (B, B3): Tune down 6 semitones to F3. This significant drop strongly advises considering a different gauge string.
• String 1 (High E, E4): Tune down 4 semitones to C4. This movement is on the border of recommending a different gauge string, and requires careful tuning.