Verbal Analysis

This "ABCs" tuning is a highly unconventional and experimental setup for the guitar. Its name perfectly describes the open string notes, which ascend sequentially through the musical alphabet: A-B-C-D-E-F. This is not a tuning designed for strumming open chords in the traditional sense, as the sequence of notes forms a series of seconds, creating a dissonant and complex open sound rather than a harmonious chord. It encourages players to explore melodic lines, unusual voicings, and potentially percussive or atonal approaches to the instrument. The significant alterations from standard tuning mean familiar shapes will no longer work, prompting new creative pathways and a unique sonic palette.

Technical Analysis

The 'ABCs' tuning for a Guitar establishes the following open string notes from low to high (String 6 to String 1): A2, B2, C3, D3, E3, F3. Analyzing the intervals between consecutive strings reveals a pattern of major and minor seconds:

• String 6 (A2) to String 5 (B2): Major 2nd (2 semitones)
• String 5 (B2) to String 4 (C3): Minor 2nd (1 semitone)
• String 4 (C3) to String 3 (D3): Major 2nd (2 semitones)
• String 3 (D3) to String 2 (E3): Major 2nd (2 semitones)
• String 2 (E3) to String 1 (F3): Minor 2nd (1 semitone)

The total range of the tuning spans an octave and a minor second (from A2 to F3). This close-voiced, sequential arrangement means traditional open chords (major, minor, 7ths) are not readily available by simply strumming the open strings. Instead, this tuning fosters exploration of clusters, linear melodic ideas, and highly specific, often dissonant, voicings. For instance, finding a basic A minor triad (A-C-E) would involve playing String 6 (A2), String 4 (C3), and String 2 (E3). However, the close proximity of notes on adjacent strings and the unique intervalic structure will necessitate unique fingerings and stretches for any familiar chord shapes, encouraging a fresh approach to harmony and melody across the fretboard.

How to Tune

To achieve the 'ABCs' tuning, adjust your guitar strings from their current pitch according to the following instructions. Please pay close attention to the semitone changes, as some are quite significant and may require different string gauges for optimal performance and string tension.

• String 6 (to A2): Tune up 5 semitones. Caution: Tuning up 5 semitones is a significant increase in tension. A different, potentially lighter, gauge string is advised for this string to prevent excessive tension and risk of breakage, or proceed with extreme care.
• String 5 (to B2): Tune up 2 semitones.
• String 4 (to C3): Tune down 2 semitones.
• String 3 (to D3): Tune down 5 semitones. Caution: Tuning down 5 semitones (a perfect fourth) significantly reduces string tension. A different, heavier gauge string is advised for this string to maintain proper playability, intonation, and avoid a floppy feel.
• String 2 (to E3): Tune down 7 semitones. Caution: Tuning down 7 semitones (a perfect fifth) is a very substantial drop. A significantly heavier gauge string is strongly advised for optimal tension, tone, and intonation, as a standard string will likely feel extremely loose.
• String 1 (to F3): Tune down 11 semitones. Caution: Tuning down 11 semitones (a major seventh) is an extremely large decrease in tension. A much heavier gauge string is essential for this string to avoid extreme floppiness, poor intonation, and buzzing.

String 6: A2 (Lowest String)

String 5: B2

String 4: C3

String 3: D3

String 2: E3

String 1: F3 (Highest String)