Verbal Analysis:

This is a truly unique and deeply resonant tuning, ideal for baritone guitars or standard guitars strung with exceptionally heavy gauge strings. Dubbed "Baritone A Interlaced," it offers an expansive low end perfect for heavy riffs, atmospheric soundscapes, and complex, open voicings. The overall feel is dark and powerful, with a distinct modal character due to its specific intervals. The most striking feature is the "interlaced" nature of the top two strings, where the second string (F#4) is actually tuned higher than the first string (B3). This unconventional setup invites experimental playing, arpeggios that span wide intervals, and creates unique harmonic possibilities that challenge traditional fingerings. It leans towards a sound that can be both brooding and ethereal, capable of producing intricate textures not commonly found in standard tunings. Open chords are complex, often containing dissonant or extended harmonies, such as an A-based voicing with elements of a minor 7th, 9th, and a major 13th (A E G D F# B). This tuning will likely appeal to players in progressive metal, ambient, jazz fusion, or experimental genres seeking a truly distinctive sonic palette.

Technical Analysis:

The tuning notes are A1-E2-G2-D3-F#4-B3 (from low 6th string to high 1st string).

Compared to standard EADGBe tuning, this tuning represents a significant shift:

• The 6th string (A1) is tuned down a perfect fifth (7 semitones) from standard E2.
• The 5th string (E2) is tuned down a perfect fourth (5 semitones) from standard A2.
• The 4th string (G2) is tuned down a perfect fifth (7 semitones) from standard D3.
• The 3rd string (D3) is tuned down a perfect fourth (5 semitones) from standard G3.
• The 2nd string (F#4) is tuned up a perfect fifth (7 semitones) from standard B3, and crucially, it is pitched *higher than the 1st string (B3)*.
• The 1st string (B3) is tuned down a perfect fourth (5 semitones) from standard E4.

The open strings (A E G D F# B) present a rich, open harmony. While not forming a simple major or minor triad, it can be conceptualized as an A minor 7th chord (A E G D) with added extensions (B for the 9th, F# for the 13th). The interval from the 6th to the 5th string is a perfect 5th (A-E), which is excellent for deep, resonant power chords and drone effects. The subsequent intervals (E-G minor 3rd, G-D perfect 5th, D-F# major 3rd, and the unique F#-B perfect 4th *down* between the 2nd and 1st strings) create a non-linear melodic and harmonic landscape that encourages innovative playing.

The F#4 on the 2nd string being higher than the B3 on the 1st string is the most technically demanding aspect, requiring careful string muting and adaptation of traditional chord shapes and scales. Due to the significant changes in pitch for all strings from standard tuning, particularly the extremely low pitches and the unique string relationship, a complete re-stringing with appropriate heavy gauge strings is highly recommended to maintain playability, intonation, and to prevent potential string breakage or neck warping. For the 2nd string, given its target F#4, a gauge suitable for its high tension might be necessary despite the listed 'tune down' instruction.

How to Tune:

To achieve the Baritone A Interlaced tuning, carefully adjust each string as follows. Please note that all movements are significant, and a different gauge string is advised for each string to ensure optimal playability and string longevity, as all listed movements exceed the recommended +/- 4 semitones from their starting points.

• String 6 (Lowest) to A1: Tune down 7 semitones. This is a substantial drop. A heavier gauge string is strongly advised.
• String 5 to E2: Tune down 5 semitones. This is a significant drop. A heavier gauge string is advised.
• String 4 to G2: Tune down 7 semitones. This is a substantial drop. A heavier gauge string is strongly advised.
• String 3 to D3: Tune down 5 semitones. This is a significant drop. A heavier gauge string is advised.
• String 2 to F#4: Tune down 5 semitones. (Note: The target pitch F#4 is higher than the 1st string's B3. A different gauge string is advised for this significant movement).
• String 1 (Highest) to B3: Tune down 5 semitones. This is a significant drop. A heavier gauge string is advised.

Given that all string movements exceed the recommended +/- 4 semitones from their implied starting points, it is highly recommended to use a set of strings specifically chosen for these lower and varied tensions to maintain proper intonation and to prevent damage to your instrument or premature string breakage.