Tuning Analysis: AAC#EG#B

As described as a "Weird thing from the bug collector", this AAC#EG#B tuning is indeed highly unique and offers a profoundly rich and experimental soundscape. It's a fascinating re-entrant tuning that creates unusual voicings and melodic possibilities not found in standard tunings.

Verbal Description

When played open, this tuning immediately resonates with an A Major 9 chord (A, C#, E, G#, B), providing a lush, full, and slightly ethereal sound. This makes it ideal for ambient textures, fingerstyle compositions where rich harmonies are desired, or experimental music that explores unconventional melodic and harmonic structures. The re-entrant nature, where lower-numbered strings (e.g., String 3 and String 1) are tuned to pitches lower than their immediately adjacent higher-numbered strings (String 4 and String 2 respectively), creates unexpected intervallic relationships. This challenges traditional chord shapes but unlocks new inversions and voicings that are incredibly unique. It's a tuning that rewards exploration and improvisation, moving away from standard guitar logic.

Technical Analysis

The open string notes for this tuning are (from low E to high e string):

• String 6: A1
• String 5: A2
• String 4: C#4
• String 3: E3
• String 2: G#4
• String 1: B3

The open strings fundamentally form an A Major 9 (Amaj9) chord. This is derived from the constituent notes: A (root, doubled), C# (major third), E (perfect fifth), G# (major seventh), and B (major ninth). This rich chord is available simply by strumming the open strings, creating an instant harmonic foundation.

The intervallic relationships between adjacent strings are particularly noteworthy:

• String 6 (A1) to String 5 (A2): Perfect Octave (P8)
• String 5 (A2) to String 4 (C#4): Major Third (M3)
• String 4 (C#4) to String 3 (E3): Major Sixth Down (M6 ↓) - This is the first re-entrant pair, as String 3 is significantly lower in pitch than String 4.
• String 3 (E3) to String 2 (G#4): Major Third (M3)
• String 2 (G#4) to String 1 (B3): Major Sixth Down (M6 ↓) - This is the second re-entrant pair, as String 1 is significantly lower in pitch than String 2.

The presence of two re-entrant pairs (Strings 4-3 and Strings 2-1) makes this tuning highly unconventional. This structure will encourage the player to think vertically across non-adjacent strings for melodic lines and harmonies, and will produce unique fingerings for common chord shapes. The wide intervals, particularly the downward shifts, offer a distinct range of expression and sonic depth.

Potential Chords & Shapes

Beyond the open A Major 9, the tuning's unique structure opens doors to fresh harmonic possibilities:

• A Major 9: Strumming all open strings.
• A5 Power Chord: Achieved easily on Strings 6 and 5 (A1-A2).
• Other A Major Voicings: By fretting across Strings 6, 5, and 4 (A1, A2, C#4), various A major chord voicings are readily available. The re-entrancy will allow for surprising inversions and open voicings when incorporating the higher strings.
• Melodic & Arpeggiated Patterns: The distinct intervallic jumps lend themselves to interesting arpeggiated patterns and melodic runs that traverse the pitch ranges in unexpected ways.

Exploring this tuning will require an open mind and a willingness to depart from traditional fretboard patterns, but it promises a rewarding and highly individual sonic palette.

Tuning Notes & How to Tune

Here are the target notes for each string, from the lowest (6th) to the highest (1st):

• String 6: A1
• String 5: A2
• String 4: C#4
• String 3: E3
• String 2: G#4
• String 1: B3

How to Tune (Starting from Standard EADGBe Tuning)

Please tune carefully, especially with large adjustments. Standard string gauges are designed for standard tension, and significant deviations (more than 4 semitones up or down) may require a change to a lighter or heavier gauge string respectively to maintain optimal playability and avoid damage.

• String 6 (Low E): Tune down 7 semitones to A1. Note: Tuning down 7 semitones is a significant drop; a heavier gauge string is advised for optimal tension and tone.
• String 5 (A): Keep as is; no change (0 semitones) to A2.
• String 4 (D): Tune down 1 semitone to C#4.
• String 3 (G): Tune down 3 semitones to E3.
• String 2 (B): Tune down 3 semitones to G#4.
• String 1 (High e): Tune down 5 semitones to B3. Note: Tuning down 5 semitones is a significant drop; a heavier gauge string is advised for optimal tension and tone.