Verbal and Technical Analysis

The "A Augmented Arpeggio with Octave Displacement" tuning, also named "AC#FAC#F - Major Thirds" in the provided data, presents a highly unique and spread-out sonic landscape. While the tuning's description refers to it as a "Major thirds tuning starting on A" and notes its similarity to a CEG#CEG# pattern raised by three half-steps, a direct analysis of the open strings reveals a specific arpeggiated structure based on an A Augmented triad (A, C#, F, where F is enharmonically E#), but with significant octave jumps that create a distinctive, somewhat ethereal sound.

Technically, the tuning's open strings are listed as A2, C4#, F3, A3, C5#, F4. This arrangement means the intervals between adjacent strings are not uniformly major thirds, but rather present a more complex pattern:

• From String 6 (A2) to String 5 (C4#): An octave and a Major Third (M10), spanning 16 semitones. This is an exceptionally wide leap upwards, creating a bright, expansive sound.
• From String 5 (C4#) to String 4 (F3): A diminished Fourth descending, spanning 9 semitones down. This large downward jump adds to the tuning's unconventional character, making for unique voicings and requiring careful string skipping.
• From String 4 (F3) to String 3 (A3): A Major Third, spanning 4 semitones. This is a standard and harmonious interval.
• From String 3 (A3) to String 2 (C5#): Another octave and a Major Third (M10), spanning 16 semitones. This continues the pattern of wide upward leaps.
• From String 2 (C5#) to String 1 (F4): Again, a diminished Fourth descending, spanning 9 semitones down.

This pattern of wide upward jumps followed by significant downward shifts makes traditional chord voicings challenging, but it opens up possibilities for expansive arpeggios and atmospheric textures. The open strings themselves form an A augmented chord (A-C#-F/E#) across various octaves, allowing for a strong fundamental augmented sound when strummed or arpeggiated. Sliding shapes up the neck will naturally create other augmented chords (e.g., C augmented or F augmented). This tuning is particularly well-suited for ambient music, experimental compositions, or pieces that leverage drone tones and wide melodic intervals.

How to Tune (From Standard E-A-D-G-B-e)

When tuning, remember that for string movements exceeding 4 semitones up or down, it is generally advised to consider using a different string gauge to avoid excessive tension or slack. This helps ensure optimal playability and string longevity.

• String 6 (Low E): Tune up 5 semitones from E2 to A2. (This is a significant increase in tension. Consider a lighter gauge E string if tuning this frequently.)
• String 5 (A): Tune up 4 semitones from A2 to C#3. (Note: While the tuning's listed open note is C4#, the movement from standard A2 by 4 semitones yields C#3. Tuning to C4# would require tuning up 16 semitones. The instructions here strictly follow the provided 'string_movements' data.)
• String 4 (D): Tune up 3 semitones from D3 to F3.
• String 3 (G): Tune up 2 semitones from G3 to A3.
• String 2 (B): Tune up 2 semitones from B3 to C#4. (Note: While the tuning's listed open note is C5#, the movement from standard B3 by 2 semitones yields C#4. Tuning to C5# would require tuning up 14 semitones. The instructions here strictly follow the provided 'string_movements' data.)
• String 1 (High E): Tune up 1 semitone from E4 to F4.

• String 6: A2
• String 5: C4#
• String 4: F3
• String 3: A3
• String 2: C5#
• String 1: F4