The Now Hear In Tuning

This unique and rather challenging tuning, named after the Cloud Nothings song "Now Hear In," truly lives up to its 'odd' description. As noted in its origin, it produces 'strange chord shapes' and will certainly require a fresh approach to the fretboard. It's not a tuning that readily offers familiar open chords, instead presenting a complex intervallic landscape that encourages experimentation and discovery.

Verbal Analysis

The open string combination of C-A-D-F-B-D creates a highly dissonant and open-ended sound. Strumming all strings open yields a dense, clustered sonority that resists traditional major or minor identification. This tuning is ideal for players looking to break free from conventional chord voicings and explore avant-garde or post-punk textures. It suggests an approach focused on individual note relationships, drones, and unusual melodic phrases rather than predictable harmonic structures. The significant drop on the low C string will give it a distinct, looser feel, contrasting with the untouched A, D, and B strings, demanding an adjustment in playing dynamics. While traditional chords are not immediately apparent, the unique intervallic relationships between the open strings (e.g., the prominent Major 6th between C2 and A2, or the Major 7th between C2 and B3) can inspire entirely new melodic and harmonic ideas.

Technical Analysis

The open notes for the Now Hear In tuning are C2-A2-D3-F3-B3-D4 (from lowest to highest string). From the lowest string (C2), the intervallic relationships across the open strings are:

• 6th String (C2): Root
• 5th String (A2): Major 6th above C
• 4th String (D3): Major 9th (or Major 2nd up an octave) above C
• 3rd String (F3): Perfect 11th (or Perfect 4th up an octave) above C
• 2nd String (B3): Major 7th an octave up above C
• 1st String (D4): Major 9th two octaves up (or Major 2nd two octaves up) above C

This collection of notes (C, A, D, F, B) does not form a standard triad or seventh chord. Instead, it presents a rich, dissonant cluster. The tuning leans towards an open, spacious sound when notes are played individually or in sparse combinations. Barre chords will feel entirely new, and players will need to re-map their fretboard knowledge significantly. The mixed intervals suggest a tuning geared towards creating specific voicings or melodic fragments rather than facilitating conventional chord progressions, making it fertile ground for experimental music.

How to Tune

To achieve the 'Now Hear In' tuning from standard E Standard tuning (E-A-D-G-B-E), follow these precise string movements:

• 6th String (Low E): Tune down 4 semitones from E to C2. Caution: This is a significant drop in tension. If this tuning is used frequently, a heavier gauge string is strongly advised to maintain optimal playability and string life.
• 5th String (A): Keep as is; no change (0 semitones) from A to A2.
• 4th String (D): Keep as is; no change (0 semitones) from D to D3.
• 3rd String (G): Tune down 2 semitones from G to F3.
• 2nd String (B): Keep as is; no change (0 semitones) from B to B3.
• 1st String (High E): Tune down 2 semitones from E to D4.

Always take care when adjusting string tension, particularly with larger pitch changes, to prevent string breakage or neck stress.

String 6: C2 (The lowest C, two octaves below middle C)

String 5: A2 (The A, one octave below middle C)

String 4: D3 (The D below middle C)

String 3: F3 (The F below middle C)

String 2: B3 (The B below middle C)

String 1: D4 (The D above middle C)