This unique tuning, known as High #c, finds its application in the acoustic rendition of Coldplay's "Violet Hill." It strategically alters only the two highest strings from standard tuning, creating a distinctive sonic landscape perfect for ethereal textures and specific melodic lines.

Verbal Analysis

The most striking feature of this tuning is the unison C# notes on the first and second strings. This creates a bright, shimmering drone effect in the upper register, lending an immediate sense of suspension and clarity. The lower four strings remain in their standard E A D G configuration, providing a familiar and stable foundation for bass notes and lower-register chord voicings. This blend allows for the creation of intricate arpeggios, bell-like harmonics, and melodies that soar above a relatively grounded bass. It's less about strumming conventional open chords and more about crafting specific textures and moods, perfectly suited for the evocative atmosphere of a track like "Violet Hill."

Technical Analysis

Starting from standard EADGBe, the tuning modifies the first (E) and second (B) strings. The 1st string is tuned down 3 semitones from E4 to C#4, while the 2nd string is tuned up 2 semitones from B3 to C#4. The resulting open string notes are E2-A2-D3-G3-C#4-C#4. This forms an EADG C# C# configuration. The presence of two identical C# notes at the top creates a powerful unison effect. While not a conventional open chord, the overall structure contains elements of an Aadd9 or a C#sus4, with the low E adding further harmonic complexity. This non-standard interval stacking encourages exploration beyond typical chord shapes, favoring specific melodic patterns and drones. Due to the unison C# on the high strings, it allows for interesting sympathetic resonances and open string melodic possibilities around the C# tonal center.

Chords and Playability

Given the E-A-D-G-C#-C# open string configuration, this tuning is not designed for easy strumming of standard major or minor chords. However, the unison C#s open up possibilities for ringing arpeggios and drone notes, particularly around the key of C# or A. For instance:

• An Am chord can be easily formed by fretting the 3rd string at the 2nd fret (A), 4th string at the 2nd fret (E), and the 5th string at the open (A), leaving the high C#s to ring out, creating an Am(add9)/C#sus2 feel.
• The open strings contain the notes of an A major triad (A, C#, E), making A major-based chords and melodies quite resonant. For example, playing the 5th string open (A), 4th string 2nd fret (E), 3rd string 2nd fret (A), and letting the top C#s ring creates a rich A major voicing.
• The two high C#s act as a powerful melodic and harmonic anchor. By fretting notes on the low EADG strings, you can create a variety of modal or suspended chords, with the C#s providing a consistent, bright top end. This encourages fingerstyle playing to highlight the individual string voicings.
• Shapes resembling a C#sus4 (C#-F#-G#) or Aadd9(omit5) (A-B-C#-D) can be explored, especially when avoiding the low E string or using it as a pedal tone.

The open D and G strings, alongside the A and E, still allow for familiar bass patterns, but the re-tuned high strings necessitate a re-learning of common chord shapes for the upper register, promoting a fresh approach to the fretboard.

How to Tune

To achieve the High #c tuning from standard EADGBe, follow these steps:

• 6th String (Low E): Keep as is; no change (0 semitones). The note remains E2.
• 5th String (A): Keep as is; no change (0 semitones). The note remains A2.
• 4th String (D): Keep as is; no change (0 semitones). The note remains D3.
• 3rd String (G): Keep as is; no change (0 semitones). The note remains G3.
• 2nd String (B): Tune up 2 semitones. The note moves from B3 to C#4. This is a moderate adjustment and should be safe for standard gauge strings.
• 1st String (High E): Tune down 3 semitones. The note moves from E4 to C#4. This is a moderate adjustment and should be safe for standard gauge strings.

Note: Tunings that involve movements exceeding 4 semitones up or down often benefit from or require a different string gauge to maintain proper tension and avoid breakage. This tuning's adjustments are within a safe range for most standard light/medium gauge strings.

6th String: E2

5th String: A2

4th String: D3

3rd String: G3

2nd String: C#4

1st String: C#4