Tuning Name: Alt middle eastern

Description:

The "Alt middle eastern" tuning presents a fascinating and deeply unconventional arrangement for the guitar, as described by its origin: "Half step down from old Egypt Arabic tuning." This immediately signals a sonic landscape far removed from standard Western tunings, designed to evoke exotic and traditional Middle Eastern melodic and harmonic sensibilities.

Verbal Analysis:

This tuning is characterized by its dramatic re-entrant nature and wide pitch discrepancies between adjacent strings. It's not a tuning for conventional strumming or typical chord voicings. Instead, it invites the player into a world of rich, resonant drones, intricate arpeggios, and expressive single-note melodies. The overall sound will be dark and mystical, conducive to creating atmospheric soundscapes, traditional folk melodies, or modern compositions with a distinct, ancient flavor. The unique octave placements encourage new fingerings and a departure from standard guitar logic, fostering a truly individual playing style.

Technical Analysis:

The open notes of this tuning are arranged as follows, from the lowest (6th) to the highest (1st) string: B1, F#3, G#3, C#4, F#4, B3.

• The most striking technical aspect is its highly re-entrant structure. The 6th string is a very low B1, but the 5th string jumps dramatically to F#3, which is significantly higher than the 6th string's B1. Furthermore, the 1st string (B3) is pitched lower than both the 2nd (F#4) and 3rd (C#4) strings. This demands a complete re-thinking of the fretboard and string order.
• When ordered by absolute pitch, the open notes are B1, B3, F#3, G#3, C#4, F#4. This collection of pitch classes (B, F#, G#, C#) forms the harmonic basis of the tuning. Ignoring octave displacement for a moment, these pitch classes suggest a Bsus2(#11) or B Lydian-like sound, hinting at the modal possibilities often found in Middle Eastern music.
• The interval between the 5th string (F#3) and 4th string (G#3) is a Major 2nd. The 4th string (G#3) to 3rd string (C#4) is a Perfect 4th, and the 3rd string (C#4) to 2nd string (F#4) is also a Perfect 4th. These consistent Perfect 4th intervals across the middle strings provide a degree of familiarity for players, potentially making some movable shapes or melodic patterns achievable in that specific range.
• The presence of two F# notes (F#3 and F#4) and two B notes (B1 and B3) at different octaves creates strong harmonic anchor points, offering opportunities for powerful open drones and sustained harmonies that can underpin intricate melodic lines.

Chords & Playability:

Due to its highly re-entrant and non-linear pitch progression, standard chord shapes are largely impractical or impossible in this tuning. Instead, players will discover new and unconventional voicings. The open strings themselves do not form a conventional triad, but rather a more complex modal sonority (B, F#, G#, C#). This tuning encourages:

• Open Drones: The prominent B1 and F#3, F#4 notes can be used as sustained drones, providing a rich, deep foundation for melodies played on other strings.
• Arpeggiation: The dispersed nature of the pitches makes this tuning ideal for arpeggiated figures, where individual notes ring out and blend into complex textures.
• Modal Melodies: The intervals present naturally lend themselves to scales and modes commonly found in Middle Eastern music. The consistent Perfect 4ths between strings 4, 3, and 2 will facilitate the creation of movable melodic patterns and sequences.
• Unique Voicings: By experimenting with two and three-note groupings, players can uncover unique chord clusters and partial chords that exploit the unusual string relationships, yielding harmonies impossible in standard tuning.

This tuning is a deep dive into an alternative sonic world, challenging players to embrace its distinct characteristics and unlock its unique expressive potential. It demands an explorative mindset and a willingness to abandon traditional guitar heuristics.

Tuning Notes:

Here are the target notes for each string, from the lowest (6th) to the highest (1st):

• String 6 (Low E): Tune to B1
• String 5 (A): Tune to F#3
• String 4 (D): Tune to G#3
• String 3 (G): Tune to C#4
• String 2 (B): Tune to F#4
• String 1 (High E): Tune to B3

How to Tune:

Achieving the "Alt middle eastern" tuning involves significant adjustments to guitar string tension. Please use a reliable chromatic tuner and proceed carefully, especially with the large downward movements. The following instructions specify the movement required to reach the target note for each string:

• String 6: Tune down 5 semitones to B1.
• String 5: Tune down 3 semitones to F#3.
• String 4: Tune down 6 semitones to G#3.
• String 3: Tune down 6 semitones to C#4.
• String 2: Tune down 5 semitones to F#4.
• String 1: Tune down 5 semitones to B3.

Important Note on String Gauges: All strings in this tuning require tuning down by 3 to 6 semitones from their starting position, as per the tuning instructions. Movements of 5 or 6 semitones (String 6, 4, 3, 2, 1) are substantial and exceed the recommended threshold for standard string gauges. To ensure optimal playability, intonation, and to prevent potential string breakage or damage to your instrument (especially due to insufficient tension for the very low B1, or potentially excessive tension on other strings depending on their original pitch and the large downward movement), it is highly recommended to consider using a different gauge string set specifically designed for extreme drop tunings or re-entrant tunings. A heavier gauge for the B1 string, and potentially a balanced set for the F#3/G#3/C#4/F#4/B3 strings, might be necessary to achieve proper tension and tone across the instrument.