C#G#C#GA#D# Guitar Tuner
C#G#C#GA#D# | D♭A♭D♭GB♭E♭ Tomboy Tuning 2 - Guitar tuning, chords & scales
This unique guitar tuning, aptly named "tomboy tuning 2," presents an experimental and harmonically rich landscape for the adventurous guitarist. The creator notes, "i forgot to put the d# string so ye we reposting this again," indicating an iterative and discovery-driven approach to its development. Its open string configuration is far from conventional, offering a blend of dissonance and striking intervallic relationships.
Verbal Analysis
At first glance, this tuning doesn't resolve into a simple major or minor open chord, suggesting it's designed for more complex harmonic textures or specific melodic lines. The arrangement of notes, C#3 G#3 C#4 G3 A#4 D#5, creates a resonant, almost industrial, drone with a distinct tension. The lower strings (C#3, G#3, C#4) form a strong C# power chord, providing a solid, grounded base. However, the introduction of G3 on the 3rd string creates a notable tritone (diminished 5th) relationship with C#3, adding a bluesy edge or a sense of unresolved tension. The upper strings (G3, A#4, D#5) cleverly form a G minor 7 chord (G Bb Eb, with A# as Bb and D# as Eb), which, when layered over the C# power chord, creates a sophisticated and somewhat dark harmonic cluster. This unique combination makes it highly suitable for genres like experimental rock, modern blues, jazz fusion, ambient music, or for players who utilize slide guitar, where open string resonance is key.
The overall feel is one of open possibilities, encouraging exploration beyond standard chord shapes. The tuning down of most strings also implies a looser string tension (especially the low 6th string, which drops by 3 semitones), which can contribute to a more slinky feel and easier bends, but caution should be exercised regarding string gauges if this tuning is maintained for extended periods.
Technical Analysis
The tuning consists of the following notes from lowest to highest string:
- String 6: C#3
- String 5: G#3
- String 4: C#4
- String 3: G3
- String 2: A#4
- String 1: D#5
Analyzing the intervals between adjacent strings:
- C#3 to G#3: Perfect 5th
- G#3 to C#4: Perfect 4th
- C#4 to G3: Diminished 5th (Tritone) – This interval is a significant source of tension and harmonic interest.
- G3 to A#4: Minor 3rd (A# is enharmonically Bb)
- A#4 to D#5: Perfect 4th (D# is enharmonically Eb)
This intervallic structure highlights the blend of a C# Power Chord (C#3-G#3-C#4) on the lower strings with a G Minor 7 chord (G3-A#4-D#5, treating A# as Bb and D# as Eb) on the higher strings. This creates a fascinating and somewhat dissonant composite chord, offering a rich canvas for melodic and harmonic exploration. Players might find interesting voicings by fretting across the top three strings to emphasize the G minor 7, or using the low C# to root various modal explorations.
How to Tune to "tomboy tuning 2"
To achieve the "tomboy tuning 2" for your guitar with notes C#3 G#3 C#4 G3 A#4 D#5, please follow these specific instructions for each string. Given the significant string movements on some strings, particularly the 3-semitone drop on the 6th string, monitoring string tension is advisable, and for prolonged use, a different string gauge might be considered if the string feels too loose or too tight.
String 6 (Low E string position)
- Target Note: C3#
- Tuning Movement: Tune down 3 semitones.
String 5 (A string position)
- Target Note: G3#
- Tuning Movement: Tune down 1 semitones.
String 4 (D string position)
- Target Note: C4#
- Tuning Movement: Tune down 1 semitones.
String 3 (G string position)
- Target Note: G3
- Tuning Movement: Keep as is; no change (0 semitones).
String 2 (B string position)
- Target Note: A4#
- Tuning Movement: Tune down 1 semitones.
String 1 (High E string position)
- Target Note: D5#
- Tuning Movement: Tune down 1 semitones.
As a general guideline, when tuning a string up or down by 4 or more semitones, it's often advisable to consider a different string gauge to ensure optimal playability and string longevity. The significant drop of 3 semitones on the 6th string falls close to this recommendation, making string gauge consideration potentially beneficial.
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Capos for C#G#C#GA#D#
Capo | Tuning | Name |
---|---|---|
-4 | AEAD#F#B | Drop A |
-2 | BF#BFG#C# | 'Ten Ton Skeleton' Tuning |
0 | C#G#C#GA#D# | Tomboy Tuning 2 |
1 | DADG#BE | DADG#BE |
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Tuning Map
- Fret
- S6
- S5
- S4
- S3
- S2
- S1
- -13
- D#
- G#
- C#
- F#
- A#
- D#
- -12
- E
- A
- D
- G
- B
- E
- -11
- F
- A#
- D#
- G#
- C
- F
- -10
- F#
- B
- E
- A
- C#
- F#
- -9
- G
- C
- F
- A#
- D
- G
- -8
- G#
- C#
- F#
- B
- D#
- G#
- -7
- A
- D
- G
- C
- E
- A
- -6
- A#
- D#
- G#
- C#
- F
- A#
- -5
- B
- E
- A
- D
- F#
- B
- -4
- C
- F
- A#
- D#
- G
- C
- -3
- C#
- F#
- B
- E
- G#
- C#
- -2
- D
- G
- C
- F
- A
- D
- -1
- D#
- G#
- C#
- F#
- A#
- D#
- 0
- E
- A
- D
- G
- B
- E
- 1
- F
- A#
- D#
- G#
- C
- F
- 2
- F#
- B
- E
- A
- C#
- F#
- 3
- G
- C
- F
- A#
- D
- G
- 4
- G#
- C#
- F#
- B
- D#
- G#
- 5
- A
- D
- G
- C
- E
- A
- 6
- A#
- D#
- G#
- C#
- F
- A#
- 7
- B
- E
- A
- D
- F#
- B
- -3
- -1
- -1
- 0
- -1
- -1