Tuning Overview: The Overtone Tuning

"The Overtone Tuning" is a highly experimental and unique guitar tuning, characterized by its construction from the 4th through 9th partials of the harmonic series. This design results in a complex sonic texture, described by its creator as sounding like a "soprano twelve-string" due to its densely packed notes and a rich, chorusing depth from repeating tones within chords. It encourages an exploration of intervallic chords, such as pandiatonic forms, rather than traditional open chord shapes.

Technical Analysis

The open strings are tuned to: C2, E2, A#3, G3, C4, D4 (from the lowest String 6 to the highest String 1). This tuning spans a considerable range from C2 to D4, encompassing over two full octaves (C2 to C4 is two octaves, with D4 an additional step higher). This broad range, especially the significant interval between E2 and A#3, provides a diverse harmonic palette and seemingly contrasts with the original description of the tuning being "highly compressed - all six strings fall within little more than a single octave."

Analyzing the open strings, a rich C Dominant 9th chord (C-E-G-Bb-D) is inherently available (comprising C2, E2, G3, A#3/Bb3, C4, D4). This natural open voicing embodies the description of "tight chords and densely packed clusters of notes," particularly with the root (C) doubled across C2 and C4, and the third (E) present as E2. The A#3 (enharmonically Bb3) introduces a strong dominant seventh character, making this tuning well-suited for blues, jazz, and experimental compositions that benefit from this harmonic tension. The close proximity of G3, C4, and D4 on the higher strings facilitates intricate melodic passages and unique intervallic voicings, aligning with the emphasis on "pandiatonic forms" over standard major or minor chord shapes.

How to Tune (from Standard EADGBe)

To achieve "The Overtone Tuning" from standard EADGBe guitar tuning, please follow these precise string adjustments:

• String 6 (Low E to C2): Tune down 4 semitones from its standard E2 pitch to C2.
• String 5 (A to E2): Tune down 5 semitones from its standard A2 pitch to E2. Note: When tuning a string down by 5 semitones, it is generally advisable to consider using a different gauge string to maintain optimal string tension, playability, and tone.
• String 4 (D to A#3): Tune down 4 semitones from its standard D3 pitch. This movement will result in an A#2 (Bb2). Important Note: There is a discrepancy between the tuning movement provided and the specified target note. Tuning down 4 semitones from D3 results in A#2 (Bb2), which is an octave lower than the intended target note of A#3. To truly reach A#3 from D3 would require tuning up 8 semitones (+8 semitones). Please be aware of this inconsistency in the provided data.
• String 3 (G to G3): This string remains as is, with no change (0 semitones) from its standard G3 pitch.
• String 2 (B to C4): Tune up 1 semitone from its standard B3 pitch to C4.
• String 1 (High E to D4): Tune down 2 semitones from its standard E4 pitch to D4.

The open string notes for "The Overtone Tuning" are as follows, from thickest to thinnest string:

• String 6 (Lowest string, typically Low E): C2
• String 5 (Typically A string): E2
• String 4 (Typically D string): A#3
• String 3 (Typically G string): G3
• String 2 (Typically B string): C4
• String 1 (Highest string, typically High E): D4