The tuning, aptly named "Tritone Odyssey," is a highly experimental and extremely challenging setup for the guitar. As noted in its original description, it "probably isn't possible without a string breaking," and our analysis confirms this. It ventures far beyond conventional guitar tunings, designed for the most avant-garde or purely theoretical applications. The core concept hints at a series of tritone intervals, but the actual resultant notes create a complex and often dissonant soundscape.

Technical Analysis:

The open strings are tuned to C2, F#3, C3, G3, C#5, and G4. This arrangement presents several peculiar intervals between adjacent strings:

• The interval from the lowest C2 to the next string's F#3 is an octave and a tritone (augmented fourth).
• From F#3 to C3, there's a descending diminished fifth.
• C3 to G3 provides a familiar perfect fifth.
• From G3 to C#5, we encounter another octave and an augmented fourth.
• Finally, C#5 to G4 is a descending diminished fifth.

While the tuning's name and its initial description suggest a consistent tritone progression, the actual tuning notes demonstrate a more varied, complex, and highly dissonant set of intervals. This contributes to its unique and unsettling sonic character.

Open Chords and Playability:

The open strings form an extremely dissonant cluster: C, F#, G, C#, G. While it technically contains a C power chord (C-G-C), the presence of F# and C# (both strong dissonances to C and G respectively) creates immense tension. This tuning is not conducive to playing traditional chords or melodies. Instead, it lends itself to experimental soundscapes, drone music, or abstract compositions where dissonance is embraced. Due to the extreme tension required for some strings and the significant slack for others, standard playing techniques will be challenging, and string breakage or intonation issues are highly probable.

Furthermore, it's crucial to highlight the significant discrepancies between the implied string movements from standard tuning and the target notes for String 5 (A string to F#3) and String 2 (B string to C#5). As detailed in the 'How to Tune' section, achieving these specific octave jumps (an octave up from where the semitone movement would naturally land) on a standard guitar string is practically impossible and would require a completely different approach or instrument setup.

Tuning Notes:

• String 6: C2
• String 5: F#3
• String 4: C3
• String 3: G3
• String 2: C#5
• String 1: G4

How to Tune:

Achieving this tuning will require significant modifications to your guitar's string gauges and potentially bridge/nut adjustments. Extreme care should be taken, as some target notes are physically unlikely to be reached using standard string sets.

• String 6 (Low E String): Tune down 4 semitones to C2. This is a substantial drop from the standard E2. A much heavier gauge string is advised to maintain playability and avoid extreme slack, as tuning down 4 semitones approaches the limit for a standard string.
• String 5 (A String): Tune down 3 semitones. The target note is F#3. It is important to note that tuning down 3 semitones from a standard A2 string would naturally result in F#2, not F#3. Reaching F#3 would require tuning up an entire octave from F#2. This appears to be a physically challenging or impossible instruction for a standard string set, likely requiring an entirely different string gauge or type, potentially even an octave-up string.
• String 4 (D String): Tune down 2 semitones to C3. This is a moderate drop from the standard D3.
• String 3 (G String): Keep as is; no change (0 semitones) at G3. This string remains in its standard tuning.
• String 2 (B String): Tune up 2 semitones. The target note is C#5. Similar to String 5, tuning up 2 semitones from a standard B3 string would naturally result in C#4, not C#5. Reaching C#5 would require tuning up an entire octave from C#4. This implies extremely high tension for a typical B string, or the use of a significantly lighter gauge string tuned an octave higher. Care should be taken as tuning up multiple semitones can increase the risk of string breakage, and this octave jump is particularly problematic.
• String 1 (High E String): Tune up 3 semitones to G4. This is a significant increase in tension from the standard E4. Tuning up 3 semitones can place considerable stress on the string, and a lighter gauge string may be advisable to prevent breakage, as tuning up 3 semitones approaches the limit for a standard string.