Verbal Analysis

This tuning, named "Melodic Tuning," presents a highly experimental and unconventional approach to guitar setup. Diverging significantly from standard tunings that typically arrange strings in consistently ascending pitch order, this tuning features a unique non-monotonic arrangement where strings do not always follow a low-to-high pitch progression. This creates a sonic landscape far removed from traditional guitar voicings, challenging conventional chord shapes and scale patterns.

The creator's description highlights its purpose for generating "densest possible pattern of chord triads per number of frets" and achieving "symmetric scales... with two only notes per string." This strongly suggests a tuning designed less for open string chords and more for intricate melodic lines and specific intervallic relationships across the fretboard. Players will find familiar chord shapes rendered virtually unusable, pushing them to explore new fingerings and harmonic ideas tailored to this specific layout. It encourages a highly analytical and pattern-based approach to playing, rewarding those who delve into its unique mathematical properties for scale and chord construction.

Technical Analysis

The open strings are tuned to A1, D2, D3, G3, B2, E4 (from the 6th string to the 1st string, respectively). A direct analysis of the adjacent string intervals reveals its extreme deviation from standard tuning:

• String 6 (A1) to String 5 (D2): A Perfect 4th.
• String 5 (D2) to String 4 (D3): A full Octave (P8). This is a very significant jump between two adjacent strings, creating a wide harmonic spread.
• String 4 (D3) to String 3 (G3): A Perfect 4th.
• String 3 (G3) to String 2 (B2): A Descending Major 6th. Critically, the second string (B2) is tuned lower in pitch than the third string (G3), creating a non-monotonic interval that will drastically alter playing and chord construction.
• String 2 (B2) to String 1 (E4): A Compound Perfect 4th (P4 + P8 = P11), meaning the high E string is tuned significantly higher than the string immediately next to it, further enhancing the wide intervallic leaps.

The non-monotonic arrangement (G3 is higher than B2) and the large intervallic jumps (P8, P11) between strings present considerable challenges for intonation and standard playability but unlock unique harmonic possibilities. Open string chords are not readily apparent in common forms due to the wide and non-linear distribution of pitches. However, the open notes A, D, G, B, E (with D an octave apart) suggest a rich palette based around A minor/D major tonalities, albeit spread across a vast range and unconventional string order. For example, an open A string, open D string, and open B string could outline an A-D-B interval, which can be part of various voicings (e.g., related to A Dorian or D major 6th).

The significant tuning adjustments, particularly the -7 semitones on strings 6 and 5, and the full octave drop (-12 semitones) on string 2, necessitate careful string gauge consideration to maintain optimal tension, tone, and intonation, as well as prevent potential string breakage or instability. String gauges designed for baritone or heavier tunings may be beneficial for the lower strings to avoid excessive floppiness, while a lighter gauge might be needed for the first string if tension becomes too high with standard sets.

Current Tuning Notes

• String 6 (Low E string position): A1
• String 5 (A string position): D2
• String 4 (D string position): D3
• String 3 (G string position): G3
• String 2 (B string position): B2
• String 1 (High E string position): E4

How to Tune (from Standard EADGBe)

• String 6 (Low E - E2): Tune down 7 semitones to A1. A different string gauge is strongly advised for this significant drop to maintain optimal tension.
• String 5 (A - A2): Tune down 7 semitones to D2. A different string gauge is strongly advised for this significant drop to maintain optimal tension.
• String 4 (D - D3): Keep as is; no change (0 semitones). This string remains at D3.
• String 3 (G - G3): Keep as is; no change (0 semitones). This string remains at G3.
• String 2 (B - B3): Tune down 12 semitones to B2. This is a full octave drop. A significantly heavier string gauge is essential to maintain playable tension and prevent intonation issues.
• String 1 (High E - E4): Keep as is; no change (0 semitones). This string remains at E4.