Description

Verbal Analysis

This unique tuning, which we've named "A Spanning Three Octaves," offers a vast sonic landscape that bridges the tonal qualities often found between guitar and mandolin, as hinted by its originator. It moves far beyond standard guitar tuning, creating an open, resonant, and drone-like experience. The wide spacing between notes, spanning three full octaves from the lowest A (A1) to the highest A (A4), makes it ideal for expansive arpeggios, sustained notes, and creating rich, atmospheric textures. It lends itself well to genres seeking an open, ambient, or world-music feel, as well as blues and rock where unusual voicings can add a distinctive edge.

While not immediately resolving to a simple major or minor triad in open position, its inherent structure encourages modal playing, particularly around A Dorian or A minor-pentatonic-like sounds. Several interesting chord voicings and melodic possibilities emerge with the open strings:

• The lowest three strings (A1-E2-B2) form an A power chord with an added B (a Major 9th), offering a strong, open foundation.
• Strings 5, 4, and 3 (E2-B2-G3) combine to form a clear E minor triad, providing a darker contrast.
• Moving up, strings 4, 3, and 2 (B2-G3-D4) outline a G major triad in its first inversion, adding brightness.
• The highest three strings (G3-D4-A4) present a Gsus2 or Gsus4 shape, allowing for fluid harmonic movement without a definitive third.
• Played together, the full open tuning (A-E-B-G-D-A) contains the notes A, B, D, E, and G. This can be interpreted as an A suspended chord with both a 2nd and a 4th, plus a minor 7th (Aadd2sus4b7), leaning heavily into a modal, almost bluesy, quality. This makes it particularly effective for improvisation within the A Dorian or A minor framework, using the open strings as a drone.

Technical Analysis

From the lowest to the highest string, this tuning is set to A1-E2-B2-G3-D4-A4. This configuration results in a series of unique intervals when measured from the lowest A string:

• String 6 (A1): The Root.
• String 5 (E2): A Perfect 5th above the root (7 semitones).
• String 4 (B2): A Major 9th above the root (14 semitones, or a Major 2nd + octave).
• String 3 (G3): A Minor 7th above the root (22 semitones, or a Minor 7th + octave).
• String 2 (D4): A Perfect 11th above the root (26 semitones, or a Perfect 4th + two octaves).
• String 1 (A4): A Perfect Octave above the root (36 semitones, or a Perfect Octave + two octaves).

Compared to standard EADGBe tuning, this setup involves significant alterations across all strings, resulting in a completely different harmonic and melodic landscape. The overall range of the tuning spans three full octaves, from A1 to A4, providing immense depth and breadth to its sound.

How to Tune

• String 6 (Low E Standard): Tune down 7 semitones to A1.
• String 5 (A Standard): Tune down 5 semitones to E2.
• String 4 (D Standard): Tune down 3 semitones to B2.
• String 3 (G Standard): Keep as is; no change (0 semitones) at G3.
• String 2 (B Standard): Tune up 3 semitones to D4.
• String 1 (High E Standard): Tune up 5 semitones to A4.

Important Note on String Gauges: Please exercise caution when adjusting string tension. For movements exceeding 4 semitones (up or down), such as on Strings 6 (-7 semitones), 5 (-5 semitones), and 1 (+5 semitones), it is strongly advised to consider using a different gauge string set to prevent potential string breakage or damage to your instrument. Tuning up or down 3-4 semitones, as with String 4 (-3 semitones) and String 2 (+3 semitones), also requires careful attention to avoid over-stressing the strings.

String 6 (lowest string, typically standard E): A1

String 5 (typically standard A): E2

String 4 (typically standard D): B2

String 3 (typically standard G): G3

String 2 (typically standard B): D4

String 1 (highest string, typically standard E): A4