Tuning Overview: vs self updated

This unique guitar tuning, internally noted by its creator as "Vs self tuning (i did it wrong the last time)", presents an intriguing sonic palette for exploration.

Verbal Analysis

The 'vs self updated' tuning offers a deeply resonant and somewhat melancholic character due to its prevalence of minor and dissonant intervals. The open strings immediately evoke a sense of introspection or a sophisticated, jazz-noir atmosphere. It's a tuning that doesn't shy away from complex harmonies, providing a rich, full sound even with minimal strumming. Players accustomed to standard tuning will find a challenging yet rewarding landscape, encouraging new chord voicings and melodic approaches. The significantly lowered tension across most strings (as indicated by the tuning movements) will likely result in a slacker feel, which can facilitate expressive bends and vibrato, while also contributing to a darker, more resonant tone.

Technical Analysis

The open strings for this tuning are set as follows:

• String 5: B1
• String 4: D2
• String 3: B2
• String 2: F3
• String 1: A3

When played open, these notes collectively form a B Half-Diminished 7th (Bø7) chord (B-D-F-A). This complex, jazz-inflected harmony is instantly available without fretting. The intervallic structure between the open strings is:

• String 5 (B1) to String 4 (D2): Minor 3rd (3 semitones)
• String 4 (D2) to String 3 (B2): Major 6th (9 semitones)
• String 3 (B2) to String 2 (F3): Tritone (6 semitones)
• String 2 (F3) to String 1 (A3): Major 3rd (4 semitones)

This specific arrangement provides immediate access to sophisticated chord voicings. Barre chords will instantly transpose the Bø7 chord up or down the neck, allowing easy access to Cø7, Dø7, etc. The octave B notes on strings 5 and 3 create a strong root foundation, while the upper strings offer unique melodic possibilities over this half-diminished harmony. The relative proximity of the B and D strings (Minor 3rd) and F and A strings (Major 3rd) creates tight clusters that can be exploited for rich, dissonant, or soulful melodic lines. This tuning is particularly well-suited for jazz, fusion, or experimental genres.

How to Tune (From Standard EADGBe)

To achieve a tuning based on the provided 'string_movements' data from standard guitar tuning (EADGBe), follow these instructions for strings 5 through 1:

• 5th String (A): Tune down 5 semitones to E2. (Important Note: This is a substantial drop. For optimal tone and string tension, it is highly recommended to consider using a heavier gauge string for the 5th string.)
• 4th String (D): Tune down 7 semitones to G2. (Crucial Note: This is a very large drop, nearly an entire octave. Using a significantly heavier gauge string for the 4th string is strongly advised to prevent excessive slack and maintain playability and intonation.)
• 3rd String (G): Tune down 3 semitones to E3.
• 2nd String (B): Tune down 2 semitones to A3.
• 1st String (E): Tune down 2 semitones to D4.

Please use a reliable chromatic tuner for accuracy and exercise caution when performing large tuning adjustments. Important Discrepancy: It is crucial to note that applying the above string movements from standard EADGBe would result in the tuning E2 G2 E3 A3 D4. This is different from the stated target notes B1 D2 B2 F3 A3 described in the technical analysis. If you are aiming for the specific B Half-Diminished 7th tuning (B1 D2 B2 F3 A3), you must tune directly to those pitches using a chromatic tuner, regardless of the provided string movement instructions.