Verbal Analysis: The Half n Half Tuning

The Half n Half tuning, as ingeniously conceived by Bernard "Senchant" Birgenheier and invented on January 31, 2024, is a truly distinctive hybrid, marrying the deep resonance of extended range with the familiarity of standard voicing. This innovative tuning offers a unique approach to the 6-string guitar, combining elements of "New Conventional Tuning" (a form of reverse standard or Mirror Tuning®) with traditional standard tuning. The result is a setup where the bass strings are drastically lowered to provide an exceptionally deep range, reminiscent of a 7-string guitar in a Drop A configuration, while the treble strings remain at their standard pitch. This creates a versatile canvas, allowing for heavy, resonant low-end riffs and intricate, bright melodies or chords in the higher register, catering to a broad spectrum of musical styles from modern metal to atmospheric soundscapes.

Technical Analysis & Open Chords

The open notes for the Half n Half tuning, from lowest to highest string, are A1-E2-C3-G3-B3-E4. This reveals a fascinating and asymmetric intervallic structure:

• String 6 (A1) to String 5 (E2): A perfect fifth (7 semitones).
• String 5 (E2) to String 4 (C3): A minor sixth (8 semitones).
• String 4 (C3) to String 3 (G3): A perfect fifth (7 semitones).
• String 3 (G3) to String 2 (B3): A major third (4 semitones).
• String 2 (B3) to String 1 (E4): A perfect fourth (5 semitones).

This unique pattern from the bass to mid-range creates a powerful and resonant foundation. The lowest three strings (A1, E2, C3) naturally form an A minor triad (root, fifth, minor third), allowing for an instant open A minor chord or a deep, droning bass. When all six strings are strummed open (A1-E2-C3-G3-B3-E4), the resulting harmony is an A minor 7 (add 9), providing a rich, complex, and dark tonality with an exceptionally deep bass. The A1 note is remarkably low, providing an extended range typically associated with 7-string or baritone guitars.

The significant drop in the bass strings provides an extremely low range ideal for modern metal, heavy rock, or atmospheric soundscapes, delivering a thunderous bottom end. Simultaneously, the higher three strings (G3-B3-E4) remain in their standard relationship, preserving the playability of familiar chord shapes, scales, and lead lines in the upper register. This makes the tuning particularly adept for styles that blend heavy, low-end riffing with melodic counterpoint or conventional chord progressions. While power chords on the lowest strings will require adapting to new shapes, the open A-E-C provides a strong starting point for exploring these lower voicings, and the standard high strings ensure a comfortable transition for lead playing or existing chord vocabulary in the upper register.

Tuning Notes: Half n Half

• String 6 (Lowest String): A1
• String 5: E2
• String 4: C3
• String 3: G3
• String 2: B3
• String 1 (Highest String): E4

How to Tune to Half n Half

To achieve the Half n Half tuning from standard E-A-D-G-B-E, follow these precise string movements:

• String 6 (Low E string): Tune down 7 semitones to reach A1. ⚠️ Caution: Tuning down 7 semitones is a significant change. For optimal tension, tone, and to prevent string damage, a heavier gauge string is strongly advised for this string.
• String 5 (A string): Tune down 5 semitones to reach E2. ⚠️ Caution: Tuning down 5 semitones is a significant change. For optimal tension, tone, and to prevent string damage, a heavier gauge string is strongly advised for this string.
• String 4 (D string): Tune down 2 semitones to reach C3.
• String 3 (G string): Keep as is; no change (0 semitones), remaining at G3.
• String 2 (B string): Keep as is; no change (0 semitones), remaining at B3.
• String 1 (High E string): Keep as is; no change (0 semitones), remaining at E4.

Always tune carefully and use a reliable tuner.