The GGCDFG Tuning: A Jake Edward Lee Original

The GGCDFG tuning is, as its name suggests, an original creation by legendary guitarist Jake Edward Lee. This tuning deviates significantly from standard EADGBe, offering a distinctive and somewhat challenging sonic landscape that leans towards unconventional and dissonant harmonies, characteristic of creative hard rock and experimental approaches.

Technical Analysis

The open strings are tuned to G2, G#3, C3, D#4, F#4, and G#5, from low to high. This arrangement immediately presents a striking feature: the minor second interval between the 6th (G2) and 5th (G#3) strings. This inherent dissonance suggests that the tuning is not designed for traditional open major or minor chord strumming. Instead, it invites exploration of specific intervals, partial chords, and highly textured voicings.

Analyzing the notes relative to the lowest G (G2) and considering their unique voicing:

• 6th String (G2): The foundational root.
• 5th String (G#3): A minor second (half-step) above the lowest G, creating significant tension.
• 4th String (C3): A perfect fourth above G2, providing a suspended or modal quality.
• 3rd String (D#4): Functions as a minor sixth or augmented fifth above G2, adding to the exotic and dissonant character.
• 2nd String (F#4): A major seventh above G2, contributing a yearning or unresolved quality.
• 1st String (G#5): An octave higher than the G#3 on the 5th string, reinforcing the prominent G# note.

The presence of G, G#, C, D#, and F# across the open strings forms a unique scale or arpeggio, rich with tension and chromaticism. The repetition of G# across the 5th and 1st strings, coupled with D# on the 3rd string, forms a strong G# power chord (G#-D#-G#) across those strings, which could serve as a powerful harmonic anchor despite the overall dissonance.

Verbal Analysis and Potential Applications

This tuning is far from conventional and offers a distinct, almost "outside" sound. The immediate G-G# dissonance when strumming open strings creates a tense, clashing quality that can be incredibly evocative for specific musical contexts. It's likely geared towards creating unique textural layers, heavy riffs with an unsettling edge, or for instrumental pieces where traditional chord voicings are deliberately avoided.

Given Jake E. Lee's background in hard rock and metal, this tuning could be a foundation for dark, intricate compositions, allowing for dramatic tension and release within riffs and lead lines. It might also be interesting for slide guitar, where the fluid movement of the slide can navigate these complex intervals and create unique melodic lines or sustained drones with a distinct character.

Chords and Shapes

While full open chords are highly dissonant, specific partial chords and voicings are readily available:

• G# Power Chord (G#5): By strumming strings 5, 3, and 1 (G#3, D#4, G#5), you achieve a clear and powerful G#5 chord. This can serve as a strong base for riffs and rhythmic patterns.
• G# Minor 7th variations: Fretting a B note (e.g., on the 4th string, 2nd fret, or 3rd string, 2nd fret if we consider G# as root) can start to build G# minor structures (G#, B, D#, F#) using the open G#, D#, F# strings.
• Suspended and Altered Voicings: The open G2, C3, and D#4 (strings 6, 4, 3) create a Gsus4 with an augmented 5th/minor 6th quality (G, C, D#), offering a unique suspended sound that avoids traditional resolution.
• Chromatic Embellishments: The close proximity of G and G# allows for immediate chromatic embellishments or lead lines that play on this inherent tension.

Experimentation is key with such a unique tuning. Rather than looking for standard chord shapes, consider two or three-string groupings and how fretting adjacent notes or moving along a single string can create new, compelling harmonies and melodic opportunities.

How to Tune (from Standard EADGBe)

Care must be taken when adjusting string tension. For string movements exceeding 4 semitones up or down, it is generally recommended to consider using a different gauge string to ensure string integrity and optimal tension on your instrument. Significant tuning changes can also affect neck relief and intonation, so a professional setup may be beneficial.

• 6th String (Low E to G2): Tune up 3 semitones. This brings your Low E string (E2) up to G2. This is a moderate tension increase.
• 5th String (A to G#3): Tune down 1 semitone. Your A string (A2) will go down to G#3. This is a minor tension decrease.
• 4th String (D to C3): Tune down 2 semitones. Your D string (D3) will go down to C3. This is a moderate tension decrease.
• 3rd String (G to D#4): Tune down 4 semitones. Your G string (G3) will go down to D#4. Caution: This is a significant decrease in tension. You may notice considerable slack, which could affect playability. Consider a heavier gauge string if this causes issues.
• 2nd String (B to F#4): Tune down 5 semitones. Your B string (B3) will go down to F#4. Caution: This is a very substantial decrease in tension. Consider a heavier gauge string if you plan to use this tuning frequently to maintain playability and tone, especially if the string feels too loose.
• 1st String (High E to G#5): Tune up 4 semitones. Your High E string (E4) will go up to G#5. Caution: This is a significant increase in tension. Consider a lighter gauge string to prevent string breakage and undue stress on your guitar neck, particularly if you use heavier string sets.

The open string notes for the GGCDFG tuning are as follows (from 6th string / lowest pitch to 1st string / highest pitch):

• 6th String: G2
• 5th String: G#3
• 4th String: C3
• 3rd String: D#4
• 2nd String: F#4
• 1st String: G#5