This is the unique "Ichika Branching Paths" tuning, designed for anyone looking to learn the specific song it's named after. It's a highly customized tuning that exemplifies modern fingerstyle's approach to creating complex harmonic and melodic textures.

Verbal Analysis

The "Ichika Branching Paths" tuning immediately suggests a soundscape far removed from conventional guitar tunings. With its extremely low C on the 6th string and a mix of sharply tuned-down and slightly tuned-up strings, it creates a wide dynamic and harmonic range. The name itself, "Branching Paths," hints at its capability for intricate melodic lines and unexpected harmonic movements, allowing a player to explore diverse musical directions. It likely offers rich, resonant open string drones and unique voicings not possible in standard tuning, ideal for percussive techniques and complex fingerpicking patterns.

Technical Analysis

This is a highly unconventional tuning with a very wide intervallic spread across the strings, presenting a challenging but rewarding landscape for advanced players. The notes are: C2, D#3, G#3, A#4, F#4, C#5 (from low to high E string). Let's examine the intervals:

• String 6 (C2) to String 5 (D#3): An octave and a major second (14 semitones up). This is an unusually large jump, providing significant separation between the bass and lower-midrange.
• String 5 (D#3) to String 4 (G#3): A perfect fourth (5 semitones up). A common and stable interval.
• String 4 (G#3) to String 3 (A#4): An octave and a minor second (14 semitones up). Another very large leap, creating distinct registers.
• String 3 (A#4) to String 2 (F#4): A major third (4 semitones down). This descending interval between adjacent strings is highly unusual and contributes significantly to the unique voicings and shapes available.
• String 2 (F#4) to String 1 (C#5): A perfect fourth (5 semitones up). Another stable interval.

The open strings themselves do not form a simple major or minor chord but rather a complex, dissonant yet potentially resonant cluster of notes: C, D#, G#, A#, F#, C#. When ordered by pitch: C2, D#3, G#3, F#4, A#4, C#5. This arrangement is specifically tailored to create unique harmonic colors and voicings, leaning towards altered or expanded chords rather than standard triads. The low C provides a deep, foundational resonance, while the significant jumps and the descending interval create opportunities for wide, arpeggiated figures and rich, open voicings that would be impossible in standard tuning. This tuning is not designed for traditional chord shapes but for exploiting the unique resonances and intervallic relationships between the open strings.

How to Tune

Proceed with caution when tuning, as several strings involve significant tension changes. For changes exceeding 4 semitones up or down, a different string gauge is highly recommended to ensure string integrity and optimal playability.

• String 6 (Low E): Tune down 4 semitones to C2. This is a substantial drop; consider a heavier gauge string.
• String 5 (A): Tune down 6 semitones to D#3 (Eb3). This is a very significant drop (a tritone); a heavier gauge string is strongly advised.
• String 4 (D): Tune down 6 semitones to G#3 (Ab3). Another very significant drop; a heavier gauge string is strongly advised.
• String 3 (G): Tune up 3 semitones to A#4 (Bb4). This is a moderate rise; proceed with care to avoid string breakage.
• String 2 (B): Tune down 5 semitones to F#4 (Gb4). This is a significant drop; consider a heavier gauge string.
• String 1 (High E): Tune down 3 semitones to C#5 (Db5). This is a moderate drop; proceed with care.

The target notes for the "Ichika Branching Paths" tuning are as follows, from the lowest (6th) string to the highest (1st) string:

String 6: C2

String 5: D#3

String 4: G#3

String 3: A#4

String 2: F#4

String 1: C#5