The King tuning, famously associated with the legendary blues guitarist Albert King, is a highly distinctive and unconventional setup for the guitar. Found on the Wikipedia page dedicated to his work, this tuning embraces dissonance and unique intervallic relationships, perfect for the expressive single-note lines and slide guitar techniques that define Albert King's iconic sound.

Verbal Analysis

This tuning immediately signals a departure from standard guitar harmony. The low strings present an immediate tension, setting the stage for a blues-infused sound that emphasizes individual notes and specific voicings rather than broad open chords. It encourages a more melodic and percussive approach, where the unique intervals can be exploited for expressive bends, slides, and drone effects. Players will find themselves exploring new shapes and sonic textures, moving beyond typical chord forms to discover the nuanced possibilities within this blues master's arsenal. It's particularly well-suited for slide guitar, where the specific intervals facilitate unique harmonic movements.

Technical Analysis

The tuning notes from low to high are: C2 - B2 - E3 - F#4 - B3 - E4. Let's break down its structure:

• Lowest Strings (6th to 5th): C2 to B2 - This is a half-step interval, creating a significant and striking dissonance. This close pairing is typically avoided in open tunings designed for consonant chords and points towards a usage focused on individual notes, pedal tones, or bluesy semi-tone clashes for impactful low-end voicing.
• Middle Strings (5th to 4th): B2 to E3 - A perfect fourth interval, which is a common and stable interval, providing a familiar harmonic anchor.
• Mid-High Strings (4th to 3rd): E3 to F#4 - A whole step up, creating an interesting tension, especially when considered with the higher strings.
• Higher Strings (3rd to 1st): F#4 - B3 - E4 - These three strings, when viewed as F#4, B3, E4, can be reordered to B3, E4, F#4. This forms a Bsus4 chord (B-E-F#), providing a foundational suspended-fourth quality in the upper register.
• Open Chord Implications: While the full open tuning (C2-B2-E3-F#4-B3-E4) does not form a traditional, simple major or minor chord when strummed, subsets of it do:
  • Strings 4, 2, 1 (E3, B3, E4) form an accessible E5 power chord.
  • Strings 3, 2, 1 (F#4, B3, E4) form a clear Bsus4 chord.

This combination suggests that players can easily access E power chords and Bsus4 voicings by selectively strumming the higher strings. The lower C and B strings, with their inherent tension, can be used for rhythmic emphasis, dissonant drones, or to create a strong, bluesy root movement when fretted. This tuning encourages a creative approach to chord voicings, often using two or three strings at a time to create specific harmonic effects rather than full six-string strums, making it excellent for dynamic blues and rock guitar work.

How to Tune to King Tuning (C2 B2 E3 F#4 B3 E4)

To achieve the King tuning, you will need to adjust several strings from standard E standard tuning (E-A-D-G-B-E). Please follow these steps carefully:

• 6th String (Low E): Tune down 4 semitones to C2. Caution: Tuning down 4 semitones is a significant drop in tension for a standard gauge string. While possible, for optimal playability, tone, and string life, considering a heavier gauge string is advised if you plan to use this tuning frequently.
• 5th String (A): Tune up 2 semitones to B2.
• 4th String (D): Tune up 2 semitones to E3.
• 3rd String (G): Tune down 1 semitone to F#4.
• 2nd String (B): Keep as is; no change (0 semitones). The string remains B3.
• 1st String (High E): Keep as is; no change (0 semitones). The string remains E4.

Always use a reliable tuner and check your intonation after significant tuning changes. Enjoy exploring the unique sounds of Albert King's signature King tuning!