A seven-string isn’t the only option for huge, earth-shaking riffs. In fact, countless players choose to stay with a traditional six-string and use lower tunings to do the heavy lifting.
Drop D tuning (D-A-D-G-B-E) has been very popular with rock, metal and blues bands for decades, Led Zeppelin’s Moby Dick, The Foo Fighters’ Everlong and Killing In The Name Of by Rage Against The Machine are three fantastic examples. However, as good as it is, Drop D is not quite heavy enough for some modern players.
Enter Drop C tuning.
Drop D and Drop C share the same basic foundation: the sixth and fourth strings are the same note an octave apart. What makes Drop C heavier is the first through to fifth strings are tuned down a whole step then the sixth string is detuned by two whole steps. So, Drop C is essentially Drop D, just tuned one whole step lower across all strings. This provides the tuning of (low to high): C-G-C-F-A-D.
Due to the lower tuning, it would be wise to consider having a thicker string gauge: typical choices would be either .011-0.54 or .011-0.56 if you’d like a little less give in the sixth string which provides the low C.
In addition, you (or your local guitar tech) might like to cut the nut’s string slots a little wider and tweak the truss rod so it’s fine tuned (sic) to deal with extra string thicknesses.
So what are the benefits with Drop C?
Like Drop D, Drop C tuning is great to play an open position power chord with the lowest three strings: where Drop D provides D5, Drop C produces C5. This instant powerchord can also be applied to fretted movable shapes, enabling multiple (and quick moving) powerchords with just one finger.
There’s also fun to be had on the fourth string: raise the fourth string by two whole tones (4 frets worth) from a one finger barre to get a major chord, or a tone and a half (3 frets worth) for a minor chord. This is great as you can still use a high gain tone without sounding muddy.
You can also raise the fourth string by a whole tone (2 frets worth) from the one finger barre, resulting in a movable sus2 chord. Perfect for demonizing Andy Summers or Dave Grohl riffs.
Of course, a tuning doesn’t gain iconic status without prominent players championing it. Bands like Alter Bridge, Periphery, and Killswitch Engage use Drop C tuning to craft expansive, atmospheric chord voicings while delivering thick, hard-hitting riffs.
Others who implement Drop C include Metallica, Nickelback, System of a Down, Arch Enemy, Children of Bodom and Bullet For My Valentine.
Whether you’re a seasoned musician looking to refresh your creativity or a new player eager to dive into heavier styles, Drop C is a really vibrant place to start. It offers accessibility, inspiration, and a distinctive voice that continues to define the sound of contemporary guitar music. Now to the playing examples!
Example 1 – Power chord study
For this first example you can re-familiarize yourself with the three basic open position power chords, but with the added tonal weight of Drop C tuning. Whilst the voicings of these chords will sound familiar, their tone and sound will be much thicker and darker.
It also shows how you can expand your chordal vocabulary with movable versions of both the A5 and D5 shapes (we will address the movable E shape in the next example).
Example 2 – One finger power chord and repeating octaves
This illustrates how easy it is to play a power chord shape in both the open position and as a movable shape, with the root note located on the sixth string.
Thanks to the Drop C tuning you can play an open C5 power chord by simply playing the bottom three open strings. By fretting these same strings with one finger, you can achieve a movable power chord shape which enables easy and fast riffing.
Another element to consider is how you can play phrases on the sixth string and repeat them an octave higher in the same position on the fourth string. This makes single note riffs very easy to achieve with minimal movement of the fretting hand.
Here you will combine both low string open position power chords and one finger fretted power chords. There is also sixth and fourth string jumping to create interesting riffing.
Example 3 – Alter Bridge style
This looks at how Mark Tremonti and Myles Kennedy of Alter Bridge employ Drop C tuning to craft their melodic chord progressions and heavy riffs. Bars 1-4 feature a clean chord arpeggio sequence.
Notice how you can extend sixth string root power chords to achieve both major and minor chords, as well as adding additional color with the 11th or 4th on the fifth string.
Bars 9-17 introduce another Alter Bridge inspired riff demonstrating the heavier side of the band’s iconic sound. This section makes use of a two string chord on the fifth and fourth strings, whilst pedalling on the palm muted open sixth string.
Example 4 – Nickelback Style
Not often spoken about, there is a very heavy side to Canadian rockers Nickelback. This is often due to the band’s use of Drop C, transforming traditional Drop D riffs into music that is darker and heavier. Bars 1-4 kick off with a single note riff figure, pedalling off the palm muted open C5 power chord.
This riff concludes with a symmetrical descending line that makes use of our repeating octave shape on the fourth and sixth strings. This riff is also embellished with one finger power chords.
Bars 9-17 introduce a second riff that is performed exclusively with one finger power chords. Pay attention to the occasional palm muted open C5 power chord, as well as the thick palm muted “chug” added to the D5 in bar 12.
In 2003, Metallica released an angry sounding album that featured great use of Drop C. This is reflected in the next example.
Bars 1-4 kick off with a repeating sequence based around fast alternate picking, as well as one finger and open power chords. Bars 5-8 see this develop further with a tight reversed gallop figure performed on the sixth string.
Bars 9-16 focus on a single note figure played on the sixth string, embellished with one finger power chords. Bars 17-21 conclude the example with atmospheric chord picking, with a shifting figure utilizing open strings. Take care with this example, as it’s quite demanding on the picking hand.
Example 6 – Arch Enemy style
This example looks at the aggressive style of the Swedish death metal band, Arch Enemy and its players Jeff Loomis, Micheal Amott and Fredrik Åkesson. The band is known for their fusion of progressive and death metal styles, producing a very unique sound.
Bars 1-8 kick off with a melodic pedal tone riff performed on the fourth string. This two-bar figure is repeated a total of four times. Bars 9-16 feature a palm-muted 16th note rhythmic chug on the open sixth string, embellished with power chords and major third intervals. Make sure you keep your picking hand relaxed and consistent for this riff.
Bars 17-24 have a strong power metal feel, with shifting two-string chords pedalling off a driving palm muted 8th note rhythm, performed on the open sixth string. The final sinister riff employs the octave at the same fret between the fourth and sixth strings.
Notice the whole tone bend from the 1st fret/sixth string, with the octave performed on the 3rd fret/fourth string. You’ll finish with tight eighth note palm muted chugging on the open C5 power chord. Once again, this example is demanding on the picking hand so take your time with note clarity and rhythmic precision.
Example 7 – Periphery style
Progressive/Djent pioneers Periphery excel at using Drop C to achieve their unique blend of crushing riffs, intricate lines, and atmospheric chords.
The three guitar onslaught of Misha Mansoor, Jake Bowen and Mark Holcomb has raised the bar in terms of the guitar’s technical and melodic applications in modern metal, with the band being credited for pioneering the Djent sound.
Bars 1-16 feature the first riff, which makes use of the 7/4 time signature (7 beats in a bar with each beat being worth a 1/4 note). This is based around a melodic keyboard-like sequence, performed with a consistent eighth note rhythm that outlines the harmony of the progression.
Bars 17-32 show the second riff, which is based around a 4/4 time signature. This riff introduces a tight 16th note syncopated C5 figure, followed by the extended movable shape of the D5 power chord.
In contrast to the tight metal fused power chord riffs, each riff is answered with an extended melodic phrase that includes wide intervals, position shifts, arpeggios, and dissonance. Extended lines such as the ones in this second riff play a big part in the intricate and progressive nature of Periphery’s music.
Example 8 – Killswitch Engage style
This final example looks at Metalcore pioneers Killswitch Engage, driven by guitar duo Adam Dutkiewicz and Joel Stroetzel. Their sound blends syncopated Drop C riffs with ethereal chord harmony.
Bars 1-8 kick off with a single note metal riff performed on the sixth string. This riff makes use of both hammer-ons and fast alternate picking, as well as shifting power chords. Pay attention to the timing of the riff, and keep your picking hand relaxed and focused.
Bars 9-12 introduce a second riff which, in contrast to the first riff, has a tighter feel and makes use of space. This riff also includes octaves as well as fast trills. Bars 13-20 include a straight eighth note riff based predominantly around power chords.
The arpeggiated C minor is achieved with three fretted strings and open first string (D string). The closing Fsus2-Cm-Dbsus2 section features a first finger stretch backwards on the first string to facilitate the three note repetition.
