This is a highly unconventional and unique guitar tuning, which we've named A# Elevated Standard to reflect its unusual characteristics. While the provided name 'Open A' might suggest an open chord, this tuning, with its specific notes, does not form a standard open A chord and offers a distinctly different sonic landscape.

Verbal Analysis

This tuning fundamentally takes the familiar standard guitar tuning (EADGBe) and makes a drastic alteration to the lowest string. Instead of a low E, the sixth string is tuned to an exceptionally high A#3. This is quite remarkable, as it places the lowest string almost two octaves higher than its standard position, and notably, a semitone higher than the adjacent fifth string (A2). This creates a very wide, non-linear interval between the two lowest strings, producing a distinctly dissonant or drone-like quality when played together.

The upper four strings (DGBE) remain in standard tuning, meaning that all your familiar chord shapes and scales from standard tuning are still accessible on these strings. However, the presence of the high A#3 and the A2 on the lower strings will fundamentally change how lower register chords, riffs, and overall harmony are approached. It's not a tuning designed for easy, conventional open chord strumming, but rather for exploring experimental textures, unique melodic patterns, or percussive elements.

Technical Analysis

The full tuning from the lowest (6th) string to the highest (1st) string is:

• A#3 (6th string)
• A2 (5th string)
• D3 (4th string)
• G3 (3rd string)
• B3 (2nd string)
• E4 (1st string)

Intervals (between adjacent open strings):

• String 6 (A#3) to String 5 (A2): This is an unusual descending minor 9th (or a major 7th down plus an octave, 13 semitones).
• String 5 (A2) to String 4 (D3): Perfect 4th (5 semitones up) - standard interval.
• String 4 (D3) to String 3 (G3): Perfect 4th (5 semitones up) - standard interval.
• String 3 (G3) to String 2 (B3): Major 3rd (4 semitones up) - standard interval.
• String 2 (B3) to String 1 (E4): Perfect 4th (5 semitones up) - standard interval.

Open Chords and Reachable Voicings:

Strumming all open strings (A#3, A2, D3, G3, B3, E4) results in a highly dissonant cluster of notes (A#, A, D, G, B, E). This does not form a conventional major, minor, or dominant seventh chord. The close proximity of A# and A in the lower register contributes significantly to this dissonance.

Due to the standard tuning of the DGBE strings, many familiar chords using only these four strings remain accessible. For example, a G major chord (G-B-D) or C major chord (C-E-G) can be formed. However, integrating the A#3 and A2 into typical chord voicings will require creative fingering and an ear for the resultant, often complex, harmonies.

This tuning is less about creating easy open chords and more about providing a unique tonal palette, potentially for advanced players exploring avant-garde or contemporary styles, or for specific melodic lines with a high-pitched bass drone.

How to Tune

To achieve this tuning from standard EADGBe, follow these string movements. Please be aware of the string gauge advice for significant semitone changes:

• String 6 (Low E): Tune up 6 semitones. (If starting from standard E2, tuning up 6 semitones will result in A#2. Please note that the target tuning specifies A#3 for this string. Achieving A#3 from E2 would require tuning up 18 semitones, which is an extreme change and poses a high risk of string breakage for standard gauge strings. A significantly lighter gauge string would be essential, or it may be intended to tune only to A#2. Proceed with extreme caution if attempting A#3.) Given this movement exceeds 4 semitones, a different gauge string is strongly advised for safety.
• String 5 (A): Keep as is; no change (0 semitones). Remains A2.
• String 4 (D): Keep as is; no change (0 semitones). Remains D3.
• String 3 (G): Keep as is; no change (0 semitones). Remains G3.
• String 2 (B): Keep as is; no change (0 semitones). Remains B3.
• String 1 (High E): Keep as is; no change (0 semitones). Remains E4.