Jonathan Martin's Cinderella Tuning

This unique tuning, known as Jonathan Martin's Cinderella Tuning, is famously associated with Steven Curtis Chapman's heartfelt song "Cinderella". It transforms the standard guitar sound into a rich, melancholic, and deeply resonant landscape, perfect for ballads, worship music, or introspective fingerstyle pieces. The consistent down-tuning across most strings creates a dark, yet full, sonic texture, making complex voicings feel natural and accessible.

Technical Analysis

From standard EADGBe, this tuning shifts almost every string down by a semitone, with a significant drop on the 2nd string. The resulting open notes are D#3 G#3 C#4 F#4 G#4 D#5. This configuration primarily outlines a D# minor 7th (add4) chord in its open position. The intervallic structure is particularly noteworthy:

• The bottom four strings (D#3, G#3, C#4, F#4) maintain a consistent pattern of perfect fourths (D# to G#, G# to C#, C# to F#). This provides a solid, resonant foundation.
• The interval from the 3rd string (F#4) to the 2nd string (G#4) is a Major 2nd, differing from standard tuning's Major 3rd interval between G and B. This creates a distinct melodic flavor and might open up new melodic possibilities or fingerings that emphasize this interval.
• The 1st string (D#5) completes the D# minor tonality, doubling the root an octave higher, reinforcing the fundamental harmony.

The open strings themselves form a beautiful, full D#m7(add4) chord (D#-G#-C#-F#-G#-D#). This means you have a powerful minor chord available without fretting any notes, ideal for rich arpeggios or drone effects. Chords in the key of D# minor (D#m, G#m, A#m, C#m, F#) and related dominant/suspended chords will naturally fall into place with ease, often requiring fewer fingers than in standard tuning. The shifted intervals will encourage players to explore new chord shapes and voicings, giving familiar melodies a fresh character.

How to Tune

To achieve this evocative tuning from standard EADGBe, carefully adjust each string as follows:

• 6th String (Low E): Tune down 1 semitone to D#3.
• 5th String (A): Tune down 1 semitone to G#3.
• 4th String (D): Tune down 1 semitone to C#4.
• 3rd String (G): Tune down 1 semitone to F#4.
• 2nd String (B): Tune down 3 semitones to G#4. This is a significant drop, ensure your string can handle the slack without buzzing or losing intonation.
• 1st String (High E): Tune down 1 semitone to D#5.

Note on String Gauges: While none of these drops exceed the suggested -4 semitone limit for changing string gauges, the 2nd string's 3-semitone drop is substantial. If you experience excessive buzzing or intonation issues, or plan to use this tuning frequently, consider using a slightly heavier gauge string for that particular string, or a lighter gauge set overall to compensate for the slack.