Tuning Overview: Waltz for the Broken Hearted C Tuning

This unique tuning, known as the "Waltz for the Broken Hearted C Tuning," is famously used by Jeff Wahl. It offers a rich, resonant soundscape, particularly suited for fingerstyle playing, ballads, and pieces requiring a full, open chord voicing. While named "Open C" in the provided context, its open string configuration (E2-G2-C3-C3-G3-C4) technically forms a C major chord with an E in the bass, giving it a distinctive C/E tonality.

Verbal Analysis

The "Waltz for the Broken Hearted C Tuning" immediately evokes a sense of melancholic beauty and spaciousness. The significant drop in pitch for several strings contributes to a deep, resonant quality, perfect for expressive, arpeggiated figures or sustained chords. The prominent C major voicing, combined with the low E bass, creates a full-bodied sound that is both grounding and soaring. This tuning lends itself beautifully to introspective compositions, ambient textures, and, as its name suggests, waltz-like rhythms that benefit from harmonically rich open strings. It encourages melodic exploration within the C major framework, making it intuitive for players familiar with the key, while offering fresh voicings due to the non-standard intervals and doubled notes.

Technical Analysis

• Open String Voicing: The open strings are tuned to E2-G2-C3-C3-G3-C4. This configuration precisely outlines a C major triad (C-E-G) with the E as the lowest bass note, effectively a C major chord in first inversion (C/E). The doubling of C on strings 3 and 4, and G on strings 2 and 5, provides immense harmonic richness and sustain, allowing for a powerful, ringing sound when all strings are strummed open.
• Intervals (from low E to high C):
  • 6th (E2) to 5th (G2): Minor Third (3 semitones)
  • 5th (G2) to 4th (C3): Perfect Fourth (5 semitones)
  • 4th (C3) to 3rd (C3): Unison (0 semitones)
  • 3rd (C3) to 2nd (G3): Perfect Fifth (7 semitones)
  • 2nd (G3) to 1st (C4): Perfect Fourth (5 semitones)
  These specific intervals create a highly resonant and harmonically dense sound, making it easy to achieve rich voicings even with minimal fretting. The unison C on strings 3 and 4 adds a unique thickness to the middle register.
• Chordal Possibilities:
  • Open Chord: The most obvious open chord is the resonant C major (C/E) itself, which can be strummed or fingerpicked with all open strings, offering a full and ringing character.
  • Barre Chords: While not designed for simple barre chords where the root is always on the lowest string, a full barre across all strings will still yield major chord structures, though the root and inversion will depend on the fret. For example:
    • Barre at 2nd Fret: Creates a D major chord with A in the bass (D/A).
    • Barre at 5th Fret: Creates an F major chord with C in the bass (F/C).
    This allows for easy transposition of the base major chord up and down the neck, maintaining the overall harmonic structure.
  • Chord Embellishments: The tuning's strong C major foundation makes it simple to add suspended 2nd (Csus2) or 4th (Csus4) chords, or even minor harmonies by altering just a few notes. For instance, fretting the 2nd string at the 2nd fret (A) while leaving other strings open would produce an interesting Cmaj7sus2 or similar voicing. The unison C's on strings 3 and 4 also make it easy to create drones or pedal tones, enhancing melodic lines.
• Stylistic Applications: Ideal for folk, acoustic rock, blues, and classical styles where rich harmony, open string resonance, and unique voicings are desired. Its lower overall pitch range encourages a more mellow and reflective tone, making it particularly well-suited for a piece like "Waltz for the Broken Hearted."

How to Tune to Waltz for the Broken Hearted C Tuning

To achieve the "Waltz for the Broken Hearted C Tuning" from standard EADGBe tuning, follow these precise string adjustments. It's recommended to use a reliable tuner and check intonation after tuning, especially for strings with significant pitch changes.

• String 6 (Low E): Keep as is; no change (0 semitones) to E2.
• String 5 (A): Tune down 2 semitones to G2.
• String 4 (D): Tune down 2 semitones to C3.
• String 3 (G): Tune down 7 semitones to C3. Caution: This is a significant drop in pitch (more than 4 semitones). For optimal tension and tone, especially if you play frequently in this tuning, a heavier gauge string for the 3rd string might be advisable.
• String 2 (B): Tune down 4 semitones to G3.
• String 1 (High E): Tune down 4 semitones to C4.