The 'Ursa Major Tuning' for guitar, as described, is a truly unique and expansive setup, crafted specifically for an MLP-inspired song. Its name, 'Ursa Major Tuning', perfectly encapsulates the grand, celestial, and somewhat enigmatic character of this tuning. It aims to create a soundscape that is both deep and soaring, reflecting the vastness and mystery associated with the constellation, and likely the whimsical yet profound nature of its musical inspiration.

Technical Analysis of Ursa Major Tuning (B-A-C-F#-C-E)

Compared to standard E-A-D-G-B-E tuning, this setup introduces several radical shifts, creating a wide tonal palette:

• 6th String (Low E to B1): Tuned down a substantial seven semitones (a perfect fourth below E, then an octave lower from B2). This provides a very deep, resonant bass foundation, pushing into baritone or even bass guitar territory.
• 5th String (A to A2): Remains at its standard pitch, providing a familiar anchor point amidst the more experimental changes.
• 4th String (D to C3): Tuned down two semitones (a whole step). This creates a minor third interval with the 5th string (A2-C3), which is a common and pleasant harmonic relationship.
• (G to F4#): This is arguably the most striking alteration. The 3rd string is tuned to F4#, which is a massive eleven semitones *up* from standard G3. This places it an octave and a minor second higher than its standard counterpart, making it significantly higher pitched than the 4th, 5th, and 6th strings, and even higher than the 2nd string (C4). This will create an extreme tension on a standard gauge G string and will likely require a much lighter gauge.
• 2nd String (B to C4): Tuned up one semitone (a minor second). This tightens the interval with the 1st string (C4-E4), creating a major third.
• 1st String (High E to E4): Remains at its standard pitch.

The open string notes are B1-A2-C3-F4#-C4-E4. This configuration highlights a vast sonic range, from the rumbling B1 to the sparkling E4, with a particularly prominent and unusually high F#4 in the middle range.

Open Chords and Harmonic Potential

This tuning does not lend itself to traditional open chord shapes, encouraging exploration of unique voicings and melodic lines:

• A Minor Voicing: The combination of A2 (string 5), C3 (string 4), and E4 (string 1) forms a clear A minor triad. Adding the C4 (string 2) creates a rich A minor chord with an octave C.
• B Power/Minor Ambiguity: The low B1 (string 6) with F4# (string 3) creates a perfect fifth interval, forming the basis of a powerful B chord, potentially a B minor if a D note can be fretted.
• Resonant C: The presence of C3 (string 4) and C4 (string 2) provides a resonant octave C, which can be a stable point for melodic development.
• Unique Intervals: The open strings (B-A-C-F#-C-E) create a somewhat dissonant but open and ethereal sound. The minor ninth between B1 and C3, and the striking augmented fourth (tritone) between C3 and F#4, offer tension and release suitable for atmospheric compositions.
• Wide Voicings: The extreme low end (B1) and high end (F4#, C4, E4) enable very wide, open voicings that would be impossible in standard tuning. This is ideal for creating expansive soundscapes and sparse, majestic harmonies in line with the 'Ursa Major' theme.

Current Tuning Notes

• 6th String: B1 (Lowest string)
• 5th String: A2
• 4th String: C3
• 3rd String: F4#
• 2nd String: C4
• 1st String: E4 (Highest string)

How to Tune

• 6th String (Low E): Tune the string to B1. You need to Tune down 5 semitones. This is a significant drop in pitch, so a heavier gauge string is strongly advised for proper tension and tone.
• 5th String (A): Tune the string to A2. You need to Keep as is; no change (0 semitones).
• 4th String (D): Tune the string to C3. You need to Tune down 2 semitones.
• 3rd String (G): Tune the string to F4#. You need to Tune down 1 semitones. While the instruction is to tune down by 1 semitone, note that the target pitch F4# is exceptionally high for a standard 3rd string (normally G3). This extreme jump in pitch will likely require a much lighter gauge string to avoid breakage and ensure playability.
• 2nd String (B): Tune the string to C4. You need to Tune up 1 semitones.
• 1st String (High E): Tune the string to E4. You need to Keep as is; no change (0 semitones).