EADGC 5-String Bass Tuning: A Comprehensive Analysis

This tuning, officially known as EADGC 5-String Bass Tuning, represents a popular alternative for five-string bass players seeking an extended upper range. Unlike the more common BEADG tuning which adds a lower B string, EADGC preserves the familiar four-string EADG configuration and adds a higher C string. This provides a versatile tonal palette, perfect for players exploring melodic lines, chordal voicings, and soloing, without sacrificing the fundamental low E note.

Technical Analysis

The open strings for this tuning are E1, A1, D2, G2, and C3, from lowest (5th string) to highest (1st string). The intervals between all adjacent strings are consistent perfect fourths:

• 5th String (E1) to 4th String (A1): Perfect Fourth (5 semitones)
• 4th String (A1) to 3rd String (D2): Perfect Fourth (5 semitones)
• 3rd String (D2) to 2nd String (G2): Perfect Fourth (5 semitones)
• 2nd String (G2) to 1st String (C3): Perfect Fourth (5 semitones)

This consistent interval structure makes the tuning highly intuitive for bassists already familiar with standard EADG tuning, allowing for easy transposition of scales, arpeggios, and chord shapes across the fretboard. The addition of the high C string significantly broadens the melodic possibilities, enabling faster runs, higher-register solos, and more complex chordal work that might otherwise be unavailable on a standard four-string or even a low B five-string bass.

Chordal and Melodic Opportunities

While basses primarily lay down rhythmic and harmonic foundations with single notes, the EADGC tuning opens up interesting harmonic possibilities, especially with its open strings and consistent fourths:

• Open String Voicings: Any two adjacent open strings will produce a perfect fourth, which is a fundamental building block for power chords and bass voicings. For example, striking E1 and A1 together creates a robust perfect fourth interval.
• Power Chords (Root-5th-Octave): Easily constructed across the strings. For instance, playing the 7th fret on the A1 string (E2) and the open G2 string forms an E-G perfect fourth. This tuning naturally facilitates power chords and diatonic harmony due to its all-fourths interval pattern.
• Triads and Arpeggios: The high C string provides ample room for playing full triads and extended arpeggios that span a wider vertical range. This is particularly useful for jazz, fusion, and funk styles where chordal accompaniment or melodic fills are prominent. For example, an open C major triad (C-E-G) can be formed by fretting the 3rd fret on the A string (C2), 2nd fret on the G string (A2) and the open C string (C3).
• Melodic Lead Playing: The higher register is excellent for soloing and intricate melodic phrases, allowing the bass to cut through the mix in a lead role. The logical fourths tuning makes it easier to navigate these higher passages.

How to Tune to EADGC 5-String Bass Tuning

To achieve this tuning, you will need to adjust your strings as follows. Please take note of the significant drops indicated; movements exceeding 4 semitones (either up or down) generally advise the use of a different string gauge to ensure optimal string tension, tone, and instrument playability. If you are not starting from a much higher conceptual pitch, these values suggest a substantial slackening from such a point.

• 5th String (E1): Tune down 12 semitones to E1. This is a substantial drop of an entire octave. We strongly advise using a suitable string gauge designed for this low pitch to avoid excessive slack or potential damage if tuning from a much higher starting point.
• 4th String (A1): Tune down 12 semitones to A1. Similar to the 5th string, this is a full octave reduction. Consider a heavier gauge string if your current setup is tuned significantly higher.
• 3rd String (D2): Tune down 12 semitones to D2. Another octave drop. Ensure your string can maintain proper tension at this pitch.
• 2nd String (G2): Tune down 12 semitones to G2. This string also requires an octave descent. Careful consideration of string gauge is recommended.
• 1st String (C3): Tune down 11 semitones to C3. This is nearly an octave drop, indicating a significant change in tension. For best results, a string gauge appropriate for C3 at bass tension is advised if not already using one.

The notes for this tuning are as follows, from the lowest string to the highest:

• 5th String (Lowest): E1
• 4th String: A1
• 3rd String: D2
• 2nd String: G2
• 1st String (Highest): C3