St. Christopher Tuning: A Deep Dive

The 'St. Christopher' tuning, as described by its creator, is a unique blend, drawing from the low end of one tuning and the high end of another, then uniformly flattened by a half step. This innovative approach yields a distinct and resonant soundscape that encourages exploration beyond traditional guitar playing.

Verbal Analysis

This tuning possesses a dark, expansive, and somewhat mysterious character. The low C#3 on the 6th string provides a deep foundation, immediately setting a mood that is far from standard EADGBe. The succession of G#3 and A#3 on the 5th and 4th strings creates an open, droning quality in the lower register. The most striking feature is the re-entrant tuning of the 1st string to B3, placing it significantly lower than the 2nd string (A#4). This inversion creates a unique harmonic texture, allowing for high melodic lines on the 2nd string to be underscored by a lower drone on the 1st string, or for unexpected voicings to emerge.

The overall flattened nature contributes to its lower general pitch, which can add warmth and body to the instrument's sound. It's a tuning that seems particularly suited for atmospheric soundscapes, open string arpeggios, and rhythmic strumming where the inherent complexity of the open chord can shine. This is a tuning that invites experimentation and improvisation, moving away from conventional chord shapes.

Technical Analysis

The open notes of the St. Christopher tuning, from low to high, are: C#3, G#3, A#3, F#4, A#4, B3.

• 6th String: C#3
• 5th String: G#3
• 4th String: A#3
• 3rd String: F#4
• 2nd String: A#4
• 1st String: B3

Open String Intervals (from 6th to 1st string):

• C#3 to G#3: Perfect 5th (P5)
• G#3 to A#3: Major 2nd (M2)
• A#3 to F#4: Minor 6th (m6) - a notable jump in pitch across strings.
• F#4 to A#4: Major 3rd (M3)
• A#4 to B3: Major 7th down (M7D) - This is a re-entrant interval, meaning the 1st string is tuned lower than the 2nd string.

Open Chord Analysis:

The open strings themselves form a rich, extended chord. The unique notes, arranged for harmonic analysis, are C#3, F#4, G#3, A#3, B3, A#4. Considering C# as the root, the open tuning produces a complex **C#sus4(add6, b7)** chord (C# - F# - G# - A# - B). This voicing is rich with tension and color, featuring both a perfect 4th (F#) and a minor 7th (B natural), creating a bluesy or modal flavor rather than a simple major or minor triad. The repeated A# (on strings 4 and 2) adds harmonic density.

Chord Shapes and Playability:

Due to the unusual intervals and the re-entrant 1st string, standard chord shapes will need to be re-imagined. This tuning encourages players to discover new voicings and shapes, particularly favoring open string drones and movable two or three-finger chord fragments. Power chords (5ths) are readily available on the lower strings (e.g., C#5 from the 6th & 5th strings). The closely spaced G#3-A#3 (M2) on strings 5 and 4 offers interesting cluster possibilities. The wide interval between strings 4 and 3 (A#3 to F#4) can be exploited for broad arpeggios or distinct melodic separation. The re-entrant 1st string (B3) is a powerful feature, allowing for drones and counter-melodies against higher notes on the 2nd string. This tuning lends itself well to slide guitar, fingerstyle patterns, and open, ringing strumming where the unique harmonic clusters can resonate fully.

Notes for St. Christopher Tuning

The open notes for the St. Christopher tuning are as follows:

• 6th String: C3#
• 5th String: G3#
• 4th String: A3#
• 3rd String: F4#
• 2nd String: A4#
• 1st String: B3

How to Tune (from Standard EADGBe)

To achieve the St. Christopher tuning, carefully adjust each string according to the instructions below. Please note that movements exceeding 4 semitones up or down may require a different string gauge to maintain proper tension and avoid breakage or excessive looseness.

• 6th String (Low E): Tune to C3# by tuning down 3 semitones.
• 5th String (A): Tune to G3# by tuning down 1 semitones.
• 4th String (D): Tune to A3# by tuning down 4 semitones. (Caution: Tuning down 4 semitones is a significant change; consider a heavier gauge string for optimal performance and tension.)
• 3rd String (G): Tune to F4# by tuning down 1 semitones.
• 2nd String (B): Tune to A4# by tuning down 1 semitones.
• 1st String (High E): Tune to B3 by tuning down 5 semitones. (Warning: Tuning down 5 semitones is a very substantial drop; a much heavier gauge string is strongly advised for proper tension, tone, and playability.)