Tuning Analysis: Sungha's B Harmonic

This is a truly distinctive and wide-ranging tuning for the Guitar, significantly altering the instrument's sonic landscape from its standard configuration. While the original description references 'CADGCF lowered by half a fret', the actual open string notes present a unique and complex harmonic structure: B1-G3#-C4#-F4#-B3-E4. This suggests a tuning designed for advanced fingerstyle and intricate compositions, as exemplified by its use in the performance by Sungha Jung (referenced in the original tuning description: YouTube Link).

Technical Observations:

The tuning presents an exceptionally deep bass with the 6th string tuned to B1, followed by a series of unexpectedly high mid-range strings (G3#, C4#, F4#) before returning to a more familiar range for the 2nd and 1st strings (B3, E4). This creates extreme intervallic jumps between strings:

• The interval from the 6th string (B1) to the 5th string (G3#) spans a remarkable 20 semitones (a Major 13th), creating a vast sonic gap.
• A sequence of Perfect 4ths (G3#-C4#, C4#-F4#) is present across strings 5, 4, and 3, offering convenient melodic and harmonic possibilities.
• String 3 (F4#) then drops a Tritone (6 semitones) to the 2nd string (B3), introducing a tension-rich interval.
• The 2nd string (B3) and 1st string (E4) maintain another Perfect 4th.

When strummed open, the tuning forms a rich, resonant chord (B E F# G# B C#), which can be analyzed as a Bmaj13sus4. This provides a strong tonal center despite its unconventional structure. The combination of very low bass and high mid-range pitches offers a unique sonic palette for complex arpeggios, melodic lines, and percussive techniques.

Chords and Playability:

The open Bmaj13sus4 chord makes this tuning highly resonant for strumming and open-string compositions. The repeated perfect fourth intervals on strings 5-4-3 and 2-1 simplify chord shapes across these specific string sets; barre chords or single-finger movements across these groups will yield consistent, harmonically interesting voicings. The powerful B1 bass string allows for deep, driving rhythms and provides a strong foundation for any B-based harmony. Experimentation with suspended chords and extended voicings will be particularly rewarding.

How to Tune:

To achieve 'Sungha's B Harmonic' tuning, please adjust your guitar strings as follows. Always use a reliable tuner and tune slowly, especially for significant changes.

• 6th String (Lowest): Tune down 5 semitones to B1. Note: Tuning down 5 semitones is a significant change. For optimal tension and string life, consider using a heavier gauge string for the 6th string.
• 5th String: Tune down 1 semitone to G3#.
• 4th String: Tune down 1 semitone to C4#.
• 3rd String: Tune down 1 semitone to F4#.
• 2nd String: Keep as is; no change (0 semitones), remains B3.
• 1st String (Highest): Keep as is; no change (0 semitones), remains E4.

Here are the target notes for each string in 'Sungha's B Harmonic' tuning:

• String 6: B1 (A very deep bass note, providing a strong low-end foundation.)
• String 5: G3# (Pitched significantly higher than the lowest string, creating a wide intervallic gap.)
• String 4: C4# (A clear, bright note in the mid-range.)
• String 3: F4# (Another relatively high note for a lower string, contributing to the unique voicing.)
• String 2: B3 (A familiar pitch, acting as an anchor amidst the more unusual intervals.)
• String 1: E4 (The highest string, also a familiar pitch, completing the tuning.)