The 'What You Don't See' tuning is a distinct and harmonically rich arrangement for guitar, famously utilized by acclaimed fingerstyle guitarist Preston Reed for his piece of the same name from the album Handwritten Notes.

Verbal Analysis

This tuning creates an open, resonant soundscape, ideal for intricate fingerstyle techniques and expressive harmonic exploration. The significant drops in pitch across most strings result in a looser string tension, facilitating percussive elements, unique bends, and a deep, sustained resonance characteristic of Preston Reed's style. The tuning's description as being "very close to the minor 9th tuning" suggests a sophisticated harmonic palette, lending itself to rich, jazz-influenced, or contemporary classical sounds, rather than simple folk or rock voicings.

Technical Analysis

The open string notes are configured as follows from low to high: A#2, F2, C3, F3, G3, C4.

• The lowest two strings, A#2 and F2, create a prominent tritone interval, offering a distinct tension and wide harmonic possibilities.
• The next three strings (F2, C3, F3) form a series of perfect fourths (F-C, C-F), providing a stable, open foundation often found in modern or experimental tunings.
• The jump from F3 to G3 (a whole step) on strings 3 and 2 introduces a bright, melodic interval.
• Finally, the G3 to C4 on strings 2 and 1 reverts to another perfect fourth, reinforcing a sense of openness and resonance.

Collectively, the open strings (A#, F, C, G) contain the essential notes for a C7sus4 chord (C, F, G, A#/Bb). When strummed open, this tuning produces a complex, yet surprisingly cohesive sound with a strong sense of root (C) and dominant tension (G-Bb/A#), making it highly adaptable for suspended and dominant harmonies. The inherent open fourths allow for easy melodic phrasing and chord inversions across the neck, while the tritone and whole step intervals encourage non-traditional chord shapes and voicings.

Due to the nature of this tuning, standard chord shapes will be entirely recontextualized, forcing players to explore new harmonic territories and voicings. It's particularly well-suited for fingerstyle arrangements where individual string dynamics and unique voicings can be highlighted.

How to Tune

This tuning involves significant adjustments from standard EADGBe. Please tune carefully, especially with large drops in pitch. For movements exceeding 4 semitones (either up or down), considering a different string gauge may be advisable to maintain proper string tension and avoid damage to your guitar.

• String 6 (Low E): Tune down 6 semitones to A#2. (This is a very significant drop; a heavier gauge string is advised.)
• String 5 (A): Tune down 4 semitones to F2. (This is a substantial drop; exercise caution and consider a heavier gauge string.)
• String 4 (D): Tune down 2 semitones to C3.
• String 3 (G): Tune down 2 semitones to F3.
• String 2 (B): Tune down 4 semitones to G3. (This is a substantial drop; exercise caution and consider a heavier gauge string.)
• String 1 (High E): Tune down 4 semitones to C4. (This is a substantial drop; exercise caution and consider a heavier gauge string.)