Tuning Overview

This tuning, named 'Minor thirds (m3)', is described as offering chord-fingerings that are potentially even easier than major-thirds tunings. A key characteristic of such tunings is the common occurrence of duplicated notes, which greatly simplifies the strumming of barre chords across the fretboard. This makes the tuning particularly appealing to beginners, musicians with smaller hands or specific hand injuries, or players utilizing eight-string guitars where consistent intervals are highly beneficial.

For those interested in exploring a wider range of chords and theoretical applications within minor-thirds tuning systems, pages 54-55 of Professor William A. Sethares' comprehensive "Alternate Tuning Guide" are recommended as a valuable resource.

Technical Analysis of Open String Voicing

The open strings are tuned to A2, C3, D#4, F#4, A3, C4. While the tuning carries the 'Minor thirds' designation, a detailed examination of the intervals between adjacent strings reveals a unique and rather unconventional structure:

• String 6 (A2) to String 5 (C3): This is a classic minor third interval, rising 3 semitones.
• String 5 (C3) to String 4 (D#4): A remarkably wide interval of 15 semitones, equivalent to an octave and a minor third. This creates a significant jump in pitch between these two strings.
• String 4 (D#4) to String 3 (F#4): Another minor third interval, rising 3 semitones.
• String 3 (F#4) to String 2 (A3): Unusually, this is a descending interval of 10 semitones (a major sixth down). This means the second string is tuned to a lower pitch than the third string, which is highly uncommon in most conventional guitar tunings and changes playability expectations.
• String 2 (A3) to String 1 (C4): This forms a major third interval, rising 4 semitones.

The open string notes (A, C, D#, F#, A, C) create a complex, colorful harmony. It forms an A minor triad (A-C) with an augmented fourth (D#) and a major sixth (F#). With the higher A and C, it could be conceptualized as an A minor chord with added #4 and 6, or potentially an F#dim7/A. This unique open voicing suggests a tuning designed for specific harmonic textures, offering a distinctive, perhaps jazz-inflected or modern sound, rather than a uniformly stacked minor-thirds system.

How to Tune

To accurately achieve the 'Minor thirds (m3)' tuning, follow these precise adjustments for each string from its current pitch. Always exercise caution, especially with significant upward tuning changes.

• String 6: Tune up 5 semitones to A2. As this is a considerable upward adjustment (exceeding 4 semitones), using a different string gauge may be advised to maintain optimal tension, prevent breakage, and achieve the best tone.
• String 5: Tune up 3 semitones to C3.
• String 4: Tune up 1 semitone to D#4.
• String 3: Tune down 1 semitone to F#4.
• String 2: Tune down 2 semitones to A3.
• String 1: Tune down 4 semitones to C4. Since this involves tuning down 4 semitones, considering a different string gauge might be beneficial for ensuring proper string tension and improving overall tone.

Below is a breakdown of each string's target note in this tuning, detailing its specific pitch and its contribution to the overall open voicing:

String 6 (Lowest Pitch): A2.
This string sets the foundation for the tuning, providing a deep 'A' as the primary root.

String 5: C3.
Tuned a minor third above String 6 (A2), it establishes a minor tonality in the lower register.

String 4: D#4.
This note creates a very wide interval, an octave and a minor third (15 semitones), significantly higher than String 5 (C3). It introduces an augmented fourth or diminished fifth quality, adding tension and color to the open chord.

String 3: F#4.
Tuned a minor third above String 4 (D#4), this note adds a major sixth to the overall open voicing, brightening the chord.

String 2: A3.
Uniquely, this string is tuned 10 semitones lower than String 3 (F#4). This means the second string is lower in pitch than the string adjacent to it, offering an octave of the root 'A' but in a descending pitch sequence relative to the previous string.

String 1 (Highest Pitch): C4.
Tuned a major third above String 2 (A3), this note completes the open chord by providing another minor third relative to the foundational 'A', positioned in a higher register.