The Djengo Tuning: A Hybrid Powerhouse

The Djengo Tuning, named "EADGDGB," is a highly specialized and innovative approach to guitar tuning, drawing inspiration from the pioneering multi-instrumentalist Charlie Hunter. This tuning reconfigures a 7-string guitar to function as a powerful hybrid instrument, allowing a single musician to lay down a robust bass line while simultaneously playing chords and melodies.

Verbal Analysis & Open Chord Voicings

Verbally, this tuning presents a wide sonic landscape. The lower four strings are tuned to E1-A1-D2-G2. This configuration essentially mirrors the open strings of a standard 4-string bass guitar (E-A-D-G), but crucially, it's pitched an entire octave lower than a typical bass's standard EADG (E2-A2-D3-G3). This provides an incredibly deep and resonant foundation, ideal for intricate bass lines and a truly sub-octave guitar sound.

The upper three strings (D3-G3-B3) are where the guitar's chordal voice comes alive. Interestingly, these three strings directly spell out a G major triad (G as the root, B as the 3rd, and D as the 5th, arranged D-G-B). This means that simply strumming the top three strings yields a beautiful G major chord.

Combining these elements, the open tuning (E1 A1 D2 G2 D3 G3 B3) offers immediate harmonic possibilities:

• G Major Chord (Strings 5-1): Playing from the 5th string (D2) upwards (D2 G2 D3 G3 B3) results in a rich G major chord (D-G-D-G-B). This provides a very full G major voicing across the middle and upper registers, making G major shapes easily accessible.
• Implied Minor Chords: By utilizing the G major voicing on the upper strings (D3 G3 B3) over the lower bass notes, you can easily imply various chords. For instance, playing the upper G major over the open E1 string can create an E minor 7th sound (E G B D). Similarly, over the A1 string, it could imply an A minor with an added 9th (A D G B).
• Melodic & Harmonic Versatility: The clear separation of bass and guitar registers, combined with the accessible G major chord on the upper strings, makes this tuning exceptionally versatile for playing jazz, funk, and fusion, allowing for intricate counterpoint and full harmonic textures from a single instrument.

Technical Analysis

This 7-string tuning is E1 A1 D2 G2 D3 G3 B3. Let's break down the intervals between adjacent strings:

• String 7 (E1) to String 6 (A1): Perfect 4th
• String 6 (A1) to String 5 (D2): Perfect 4th
• String 5 (D2) to String 4 (G2): Perfect 4th
• String 4 (G2) to String 3 (D3): Perfect 5th (This is a notable departure from standard guitar intervals, creating a wider jump that effectively separates the bass and guitar sections).
• String 3 (D3) to String 2 (G3): Perfect 4th
• String 2 (G3) to String 1 (B3): Major 3rd

The lowest four strings (E1 A1 D2 G2) maintain the standard bass EADG interval relationships but are pitched an entire octave lower than a typical 4-string bass, offering an extremely deep and rumbling bass register. The upper three strings (D3 G3 B3) are tuned in a standard D-G-B relationship, often found in parts of standard guitar tuning. The large interval (Perfect 5th) between the 4th (G2) and 3rd (D3) strings is a key technical feature that creates a distinct separation between the bass and guitar sections, allowing for highly differentiated voicing.

How to Tune for Djengo EADGDGB

Achieving this tuning requires significant adjustments from a typical 7-string or 6-string standard tuning. Please be mindful of string tension and gauge, especially for larger downward movements, which may necessitate different string gauges for optimal performance and to prevent string damage.

• String 7 (Lowest String): Tune to E1. This requires you to Tune down 7 semitones. Warning: Tuning down 7 semitones is a significant adjustment. A heavier gauge string is strongly advised for optimal tension, tone, and instrument health.
• String 6: Tune to A1. This requires you to Tune down 7 semitones. Warning: Tuning down 7 semitones is a significant adjustment. A heavier gauge string is strongly advised for optimal tension, tone, and instrument health.
• String 5: Tune to D2. This requires you to Tune down 7 semitones. Warning: Tuning down 7 semitones is a significant adjustment. A heavier gauge string is strongly advised for optimal tension, tone, and instrument health.
• String 4: Tune to G2. This requires you to Tune down 7 semitones. Warning: Tuning down 7 semitones is a significant adjustment. A heavier gauge string is strongly advised for optimal tension, tone, and instrument health.
• String 3: Tune to D3. This requires you to Tune down 5 semitones. Warning: Tuning down 5 semitones is a significant adjustment. A heavier gauge string is advised for optimal tension and tone.
• String 2: Tune to G3. This requires you to Tune down 4 semitones. Caution: Tuning down 4 semitones can be done with standard gauges, but the string may feel loose. For optimal stability and tone, consider a slightly heavier gauge.
• String 1 (Highest String): Tune to B3. This requires you to Tune down 5 semitones. Warning: Tuning down 5 semitones is a significant adjustment. A heavier gauge string is advised for optimal tension and tone.

String 7: E1 - The lowest string, providing a very deep bass fundamental. Pitched an octave below a standard 4-string bass's lowest E.

String 6: A1 - The second lowest string, tuned a perfect fourth above E1, maintaining the deep bass register.

String 5: D2 - The third lowest string, tuned a perfect fourth above A1, completing the low-end bass foundation.

String 4: G2 - The fourth lowest string, tuned a perfect fourth above D2, concluding the "bass" section of the tuning.

String 3: D3 - The middle string, tuned a perfect fifth above G2. This string marks the transition to the chordal/melodic section, and is an octave higher than String 5's D.

String 2: G3 - Tuned a perfect fourth above D3. This string forms the root (G) of the upper G major triad.

String 1: B3 - The highest string, tuned a major third above G3. This completes the G major triad (D-G-B) on the upper strings, offering clear chordal voicings.