The "E5ish" tuning, aptly described as "E5 flying through the morning break," is an extremely low and resonant open Guitar tuning that dives deep into the lower registers to create a powerful, droning soundscape.

Verbal Analysis

This tuning immediately strikes with its exceptionally low pitch, featuring two B1 notes on the lowest strings, followed by two B2 notes. This creates a colossal, almost sub-harmonic foundation that is perfect for heavy, atmospheric, or experimental music. The presence of the E3 on the second string adds a distinctive, open, and slightly melancholic character against the dominant B drone. It's a tuning designed for massive sound, deep resonance, and sustained notes that hang in the air, allowing for rich textures and powerful low-end riffs. It evokes a sense of vastness, much like an "E5 flying through the morning break," suggesting open spaces and sustained energy.

Technical Analysis

Technically, this tuning sets the guitar strings to the following notes from low to high: B1-B1-B2-B2-E3-B3.

• Intervals: When strummed open, the tuning primarily functions as a B suspended 4th (Bsus4) power chord. The interval structure from the root (B1) is: Unison (B1), Octave (B2), Octave (B2), Perfect 11th (E3), and a double Octave (B3). This strong emphasis on B and its octaves, combined with the Perfect 4th (E), creates a highly stable yet open harmonic canvas.
• Open Chords: The open strings form a resonant Bsus4 chord (B-E-B). This makes it incredibly easy to create massive-sounding, one-finger suspended chords by simply barring any fret across the relevant strings.
• Chord Shapes:
  • Barre Chords: Barring all strings at any fret will yield a suspended 4th chord (e.g., barring the 2nd fret results in C#sus4). This offers a straightforward way to navigate harmonically while maintaining the tuning's characteristic drone.
  • Power Chords: The unison B1 and B2 notes on adjacent strings make power chords exceptionally easy to form on the lower strings, providing immense power and sustain.
  • Harmonic Potential: While not designed for traditional chord voicings, the open and suspended nature of the tuning lends itself well to modal playing, drone passages, and ambient textures. Experimentation with two- or three-finger shapes will reveal unique harmonies and voicings specific to this deep, open B architecture.

Tuning Notes

String 6 (low E): B1
String 5 (A): B1
String 4 (D): B2
String 3 (G): B2
String 2 (B): E3
String 1 (high E): B3

How to Tune (from Standard E-A-D-G-B-E)

This tuning involves significant drops for most strings. Please proceed with caution, especially for strings with larger semitone movements, as they may require heavier gauge strings for optimal tension, tone, and to prevent potential string breakage or instability.

• String 6 (Low E): Tune down 5 semitones from E2 to B1. This is a notable drop, and a heavier gauge string is recommended for improved tension and tone.
• String 5 (A): Tune down 10 semitones from A2 to B1. This is a very substantial drop, almost an octave. A much heavier gauge string is strongly advised to maintain playability and avoid excessive floppiness or potential damage.
• String 4 (D): Tune down 3 semitones from D3 to B2. This is a manageable drop, typically fine with standard string gauges.
• String 3 (G): Tune down 8 semitones from G3 to B2. This is a significant drop. A heavier gauge string is recommended for better tension and overall performance.
• String 2 (B): Tune down 7 semitones from B3 to E3. This is also a considerable drop. A heavier gauge string is recommended here as well.
• String 1 (High E): Tune down 5 semitones from E4 to B3. Similar to the 6th string, this is a noticeable drop, and a heavier gauge string would benefit stability and tone.

For any string requiring a movement of 5 semitones or more (either up or down), consider using a heavier gauge string set to ensure proper intonation, tension, and to protect your instrument. For very large drops like 7, 8, or 10 semitones, a dedicated string set for extremely low tunings is highly recommended.