This analysis describes the "Harmonica" tuning for a standard Guitar, a unique setup designed for intuitive playability and complex harmonic exploration, drawing inspiration from jazz legends.

Verbal Analysis

As described, the "Harmonica" tuning aims to emulate the simplicity and intuitive feel of a harmonica. It promises to allow guitarists to approach the instrument without extensive memorization, fostering a more natural and immediate connection to music. The tuning explicitly cites influences from jazz theory, particularly Barry Harris, the "axes" of John Coltrane (referring to his harmonic concepts), and Dihango Ryhard. A key benefit highlighted is the ability to play "Hendrix chords without useless effort," suggesting an ease of access to rich, extended voicings often found in funk and blues, implying a focus on altered and dominant structures, which aligns with the jazz influences.

Technical Analysis

The "Harmonica" tuning transforms the standard EADGBe guitar into a truly distinct sonic landscape. The open string notes are configured as follows: A2-C3-D4#-F4#-A4#-D5#. This arrangement creates a fascinating and harmonically rich open sound.

Open Chord Analysis

When played open, the strings collectively form a complex and evocative chord. Arranging the notes (A, C, D#, F#, A#, D#) reveals a dominant diminished character. Specifically, this tuning prominently features the intervals of an A diminished 7th chord (A-C-D#-F#) with an added minor ninth (A# or Bb), effectively creating an A diminished 7(b9) voicing, with the top D# serving as an octave of the diminished fifth.

The intervallic structure from the lowest string is:

• String 6 (A2) to String 5 (C3): Minor 3rd (3 semitones)
• String 5 (C3) to String 4 (D4#): Compound Minor 3rd (15 semitones, an octave plus a minor 3rd)
• String 4 (D4#) to String 3 (F4#): Minor 3rd (3 semitones)
• String 3 (F4#) to String 2 (A4#): Minor 3rd (3 semitones)
• String 2 (A4#) to String 1 (D5#): Major 3rd (4 semitones)

This unique stacking of primarily minor third intervals, capped with a major third on the highest string, naturally lends itself to exploring diminished and altered dominant harmonies. The significant octave jumps on strings 4, 3, 2, and 1 result in a very high-pitched, almost bell-like quality for the upper register, creating a bright and shimmering contrast to the deeper bass notes. This structure makes playing various diminished scales and arpeggios highly accessible across the fretboard, requiring minimal hand movement for complex voicings. This readily available diminished sound strongly aligns with the mentioned influences of Barry Harris and John Coltrane, who extensively utilized such harmonic concepts in jazz improvisation.

How to Tune Your Guitar

To achieve the "Harmonica" tuning, you will adjust your strings from standard EADGBe tuning. Please proceed with caution, especially when tuning strings significantly up or down. If a string needs to be tuned up or down by more than 4 semitones, it is generally recommended to consider a different string gauge to prevent breakage or poor intonation.

• String 6 (Low E): From its standard E2, tune up 5 semitones. Your target note is A2. Please note that tuning up 5 semitones is a significant change; consider a heavier gauge string if you frequently use this tuning.

• String 5 (A): From its standard A2, tune up 3 semitones. Your target note is C3.

• String 4 (D): From its standard D3, tune up 1 semitone. Your target note is D4#. Observe that while the semitone movement from standard D3 results in D#3, the target note for this tuning is D4#, an entire octave higher. This suggests that a lighter gauge string may be necessary to safely achieve this high pitch, or it indicates a very high tension on a standard gauge string.

• String 3 (G): From its standard G3, tune down 1 semitone. Your target note is F4#. Similar to string 4, the semitone movement from standard G3 results in F#3, but the target is F4#, an octave higher. A lighter gauge string or high tension may be implied.

• String 2 (B): From its standard B3, tune down 1 semitone. Your target note is A4#. Again, the semitone movement from standard B3 results in A#3, but the target is A4#, an octave higher. A lighter gauge string or high tension may be implied.

• String 1 (High E): From its standard E4, tune down 1 semitone. Your target note is D5#. The semitone movement from standard E4 results in D#4, but the target is D5#, an octave higher. A lighter gauge string or high tension may be implied.

Due to the significant octave shifts for strings 4 through 1, it is highly recommended to use appropriate string gauges if you plan to keep your guitar in this tuning for extended periods, or if your instrument cannot safely handle the exceptionally high tension required for those upper strings. These octave jumps contribute significantly to the tuning's unique 'harmonica' like, bright and cutting upper register.

String 6 (Low E): Tuned to A2

String 5 (A): Tuned to C3

String 4 (D): Tuned to D4#

String 3 (G): Tuned to F4#

String 2 (B): Tuned to A4#

String 1 (High E): Tuned to D5#