The "Martin Carthy" tuning is a distinctive and highly resonant configuration for the guitar, designed to offer a unique sonic palette. It stands out immediately with its low D on the 6th string, creating a deep, foundational drone, and a complex interplay of notes across the higher strings.

Verbal Analysis

This tuning evokes an open, spacious sound, rich with harmonic possibilities. The presence of D, A, and D on the lower strings establishes a strong D-based resonance, akin to an open D power chord, which serves as a solid anchor. The most striking feature is the unconventional arrangement of the higher strings: C# on the 3rd string, B on the 2nd, and another C# on the 1st string. This creates a bright, almost modal quality. The interval between the 4th (D3) and 3rd (C4#) strings is a major seventh, with the 3rd string being pitched significantly higher than the 4th. This specific relationship is a key characteristic of the tuning, providing a unique harmonic tension and sustain. This setup encourages arpeggiated figures and fingerstyle playing, where the sustained open strings can ring out, creating lush textures. It's particularly well-suited for folk, experimental, or ambient music, offering a departure from conventional chord voicings.

Technical Analysis

The open notes are tuned to D2 A2 D3 C4# B3 C5# from low to high (6th to 1st string).

• String 6 (D2): Tuned down a whole step from standard E.
• String 5 (A2): Standard tuning.
• String 4 (D3): Standard tuning.
• String 3 (C4#): Tuned down significantly from standard G3. This C# is notably higher in pitch than the 4th string's D3.
• String 2 (B3): Standard tuning.
• String 1 (C5#): Tuned down a minor third from standard E5.

Looking at the intervals (from lower to higher string):

• D2 (6th) to A2 (5th): Perfect 5th
• A2 (5th) to D3 (4th): Perfect 4th
• D3 (4th) to C4# (3rd): Major 7th (up) - A very wide and distinctive interval.
• C4# (3rd) to B3 (2nd): Minor 2nd (down) - A tight, dissonant interval adding tension.
• B3 (2nd) to C5# (1st): Major 9th (up) - Another very wide interval, creating significant harmonic space.

The open string configuration does not form a simple major or minor triad but rather a rich, extended chord. The notes D, A, D, C#, B, C# can be interpreted as a Dadd9sus2(no 3rd) or a Dmaj7add6(no 3rd), offering a bright, open sound with a strong Lydian or Maj7sus2 character due to the C# and B. While not conventionally forming full chords, the open strings provide a resonant D drone with rich extensions. Simple two or three-string partial chords are readily available:

• The lower three strings (D-A-D) form an unambiguous D5 power chord.
• Strings 3, 2, 1 (C# - B - C#) form a tight, resonant cluster, suggesting unique voicings with minimal fretting, ideal for melodic phrases.

This tuning encourages exploration beyond standard chord shapes, favoring arpeggios, drones, and melodic lines that interact with the open string harmonics.

How to Tune to Martin Carthy

To achieve the "Martin Carthy" tuning, follow these precise string adjustments from standard EADGBe tuning (low to high):

• 6th String (Low E): Tune down to D2. This means tuning down 2 semitones from its standard E2.
• 5th String (A): Keep as is at A2. No change is required (0 semitones).
• 4th String (D): Keep as is at D3. No change is required (0 semitones).
• 3rd String (G): Tune down to C4#. This is a significant adjustment, tuning down 6 semitones from its standard G3. ⚠ Caution: Tuning down 6 semitones is a substantial change. Consider using a different string gauge to ensure optimal tension and prevent potential string damage or intonation issues.
• 2nd String (B): Keep as is at B3. No change is required (0 semitones).
• 1st String (High E): Tune down to C5#. This means tuning down 3 semitones from its standard E5.

Always use a reliable tuner and tune carefully, especially when making large pitch adjustments.