Tuning Analysis: CGDGGA Capo 3

This unique tuning, known as CGDGGA Capo 3, offers a rich and distinctive sonic landscape, specifically tailored to achieve a D# tonality as indicated by its description. While the name suggests a base tuning of CGDGGA with a capo at the 3rd fret, the provided tuning notes represent the sounding notes with the capo already applied. This means your open strings will directly resonate with the characteristics described below, immediately offering a transposed sound.

Technically, the open strings, from low to high, are tuned to D#3, A#3, F3, A#4, A#4, C4. This arrangement creates a fascinating harmonic structure. Notably, the open tuning itself forms a D# minor 7 (D#m7) chord, comprising D# (root), F (minor third), A# (perfect fifth), and C (minor seventh). The repetition of A# on the 5th, 3rd, and 2nd strings reinforces the perfect fifth, adding a lush, full quality to the open chord. This makes the tuning incredibly resonant and inspiring for immediate songwriting or improvisation in the key of D# minor.

The intervals between the strings are:

• 6th String (D#3) to 5th String (A#3): Perfect 5th
• 5th String (A#3) to 4th String (F3): Diminished 5th / Tritone
• 4th String (F3) to 3rd String (A#4): Perfect 4th
• 3rd String (A#4) to 2nd String (A#4): Unison
• 2nd String (A#4) to 1st String (C4): Minor 3rd

This unusual blend of intervals, particularly the unison and the diminished fifth, offers unique melodic and harmonic possibilities. The close proximity of the top two strings (A# to C) creates easy access to minor second and minor third intervals, useful for bluesy bends or dissonant voicings. The overall voicing is rich, making it suitable for ambient soundscapes, fingerstyle, or powerful rhythmic strumming, especially given the natural D#m7 chord in the open position.

How to Tune (from Standard EADGBe)

To achieve the CGDGGA Capo 3 tuning, you will adjust your strings from standard EADGBe as follows. Please exercise caution, especially with larger pitch changes, and consider string gauge if you plan to keep this tuning for extended periods.

• 6th String (Low E): Tune down 1 semitone to D#3. This is a minor adjustment.
• 5th String (A): Tune up 1 semitone to A#3. A slight increase in tension.
• 4th String (D): Tune up 3 semitones to F3. This is a moderate tension increase; proceed carefully.
• 3rd String (G): Tune up 3 semitones to A#4. Another moderate tension increase; take care.
• 2nd String (B): Tune down 1 semitone to A#4. This is a minor adjustment.
• 1st String (High e): Tune down 4 semitones to C4. This is a significant drop in tension, pushing the boundary where alternative string gauges might be considered for optimal tension and tone balance. While generally acceptable for standard strings, monitor string floppiness.

The open strings for this tuning (from low E to high e) are:

• 6th String: D3#
• 5th String: A3#
• 4th String: F3
• 3rd String: A4#
• 2nd String: A4#
• 1st String: C4