The 12 String Whole Step Tuning (Higher Half) presents a highly unconventional and expressive sonic landscape for the higher octave strings of a 12-string guitar. As per the provided description, this is intended to be the 'higher half' of a 'whole step regular tuning' for a 12-string. However, a technical analysis of the resulting open string notes reveals a tuning with unique and sometimes extreme intervals, departing significantly from what might be considered a simple 'whole step up' from standard 12-string higher octave notes.

Verbal Analysis

This tuning offers a bright, open, yet complex and often dissonant sound, characterized by a mix of major second intervals (whole steps) at the higher end, combined with very wide leaps and even downward drops in pitch lower down. The dramatic jump of an octave and a major second from the 6th string (B2) to the 5th string (C#4), and then a substantial drop of 10 semitones from the 4th string (D#4) to the 3rd string (F3), creates an unpredictable harmonic texture. This suggests a tuning less suited for traditional strumming of common chords, and more for specific melodic lines, arpeggios, or experimental sound design. It will undoubtedly inspire unique chord voicings and lead lines not easily found in standard tunings, making it a fertile ground for avant-garde or contemporary compositions that seek an unusual sonic character.

Technical Analysis

The open string notes for this tuning, from the lowest (6th string) to the highest (1st string), are: B2, C#4, D#4, F3, G3, A3. Let's break down the intervals between adjacent strings:

• String 6 (B2) to String 5 (C#4): An octave and a major second (14 semitones). This is an exceptionally large interval for adjacent strings.
• String 5 (C#4) to String 4 (D#4): A major second (2 semitones).
• String 4 (D#4) to String 3 (F3): A substantial drop of 10 semitones (equivalent to a major third up from an octave lower D#). This is a highly unconventional interval.
• String 3 (F3) to String 2 (G3): A major second (2 semitones).
• String 2 (G3) to String 1 (A3): A major second (2 semitones).

The overall range of these six strings spans from B2 (on the 6th string) to A3 (on the 1st string). The unique intervallic structure means that traditional chord shapes will need significant adaptation or will produce entirely new harmonies. While a simple open strum of all six strings (B-C#-D#-F-G-A) creates a complex, dissonant sound that could be interpreted as a Bsus4b9 or a polytonal cluster, the tuning encourages exploring individual string relationships. Specific open string combinations might yield interesting sounds; for instance, the top three strings (F3-G3-A3) could form an Fsus2 or a Gsus4 fragment. The lower three strings (B2-C#4-D#4) contain the root, second, and third of a B major chord, suggesting a Bmaj(add9) without the fifth. The true strength of this tuning lies in its ability to generate unique melodic and harmonic textures rather than providing easily accessible common chords, making it ideal for experimental players.

Open String Notes

String 6: B2
String 5: C#4
String 4: D#4
String 3: F3
String 2: G3
String 1: A3

How to Tune

To achieve the '12 String Whole Step Tuning (Higher Half),' please follow these instructions carefully. Note the significant string tension changes for some strings, relative to a typical starting point (e.g., standard tuning for a 12-string's higher octave strings):

• String 6: Tune up 7 semitones to B2. Caution: Tuning up 7 semitones is a significant tension increase. A different string gauge is strongly advised to prevent string breakage and potential neck damage. Proceed with extreme care.
• String 5: Tune up 4 semitones to C#4. Caution: Tuning up 4 semitones is a considerable change. While possible with standard strings, proceed with care, as string breakage is possible.
• String 4: Tune up 1 semitones to D#4.
• String 3: Tune down 2 semitones to F3.
• String 2: Tune down 4 semitones to G3. Caution: Tuning down 4 semitones is a considerable change. You may experience reduced string tension and floppiness; a heavier gauge might be desired for optimal playability and tone.
• String 1: Tune down 7 semitones to A3. Caution: Tuning down 7 semitones is a significant tension decrease. A heavier string gauge is strongly advised for improved playability, intonation, and tone.

Always tune slowly, in small increments, and regularly check your guitar's neck relief after making significant tuning changes. If unsure, consult a professional.