Verbal Analysis: The "Newark Wilder" Sound

The "Newark Wilder" tuning, famously utilized by Pavement in their song of the same name from the album "Crooked Rain, Crooked Rain," offers a unique and resonant soundscape. This tuning immediately creates an open, almost chiming quality, largely due to the combination of low C and G, followed by B and then a higher G, B, and E. The lower strings are significantly dropped, contributing to a looser feel and a more pronounced low-end growl or drone capability, characteristic of Pavement's indie rock sound.

The open C-G-B-G-B-E arrangement suggests a bright, harmonically rich palette. When strummed open, it evokes a C Major 7th chord (C-E-G-B), with the G and B notes doubled across different octaves, adding immense depth and sustain. This makes it particularly effective for ringing arpeggios, melodic lines that can weave through the sustained open strings, and creating expansive soundscapes without complex fingering. Players will find it conducive to drone-based compositions and atmospheric textures.

Technical Analysis: Intervals and Chordal Possibilities

This is a modified standard tuning for a Guitar, heavily altered on the lower three strings, creating a wide and interesting interval spread.

• 6th String (C2) to 5th String (G2): A Perfect 5th (7 semitones). This classic interval provides a strong harmonic foundation.
• 5th String (G2) to 4th String (B2): A Major 3rd (4 semitones). This introduces a major quality early in the tuning.
• 4th String (B2) to 3rd String (G3): A Minor 6th (8 semitones). This is a significantly wide interval, creating an open, expansive sound between the middle strings and adding a unique flavor.
• 3rd String (G3) to 2nd String (B3): A Major 3rd (4 semitones). Another major interval, continuing the bright character.
• 2nd String (B3) to 1st String (E4): A Perfect 4th (5 semitones). This is a common interval found in standard tuning, making the higher strings somewhat familiar.

The overall open string notes C2-G2-B2-G3-B3-E4 effectively spell out a C Major 7th chord (C-E-G-B), with the G and B notes strategically doubled. This inherent harmonic richness makes the open position incredibly versatile.

Open Chords and Accessible Voicings:

• Open Cmaj7: Strumming all six open strings directly yields a rich Cmaj7 chord, perfect for sustained, airy progressions.
• G Major: The open strings contain G, B, and E. While not a full open G major triad (G-B-D), the tuning strongly supports G major tonality. By fretting the 4th string at the 3rd fret to get D3, you can easily form a G major chord (C2-G2-D3-G3-B3-E4).
• E Minor: The upper three strings (G3-B3-E4) form the notes of an E minor chord. While the lower strings might not directly fit, this provides a foundation for E minor voicings higher up the neck.

While traditional barre chords might require re-thinking due to the irregular intervals, the tuning lends itself well to sliding shapes and partial chords that exploit the open string drones. The doubled Gs and Bs provide a harmonic anchor, making it easier to build harmonies around them. The extreme drop on the low E string to C2 allows for powerful, resonant bass notes and alternative pedal tones.

How to Tune to "Newark Wilder" (C G B G B E):

• 6th String (Low E): Tune the 6th string down 4 semitones from its standard E2 to C2.

  (Caution: Tuning down 4 semitones is a significant drop in pitch. If this tuning is used frequently, considering a heavier gauge string for the low E is highly recommended to maintain optimal tension, prevent string floppiness, and ensure better intonation.)

• 5th String (A): Tune the 5th string down 2 semitones from its standard A2 to G2.
• 4th String (D): Tune the 4th string down 3 semitones from its standard D3 to B2.
• 3rd String (G): Keep as is; it remains at its standard G3 (no change - 0 semitones).
• 2nd String (B): Keep as is; it remains at its standard B3 (no change - 0 semitones).
• 1st String (High E): Keep as is; it remains at its standard E4 (no change - 0 semitones).

Always double-check your tuning after making adjustments, as changes to one string can sometimes affect the tension and pitch of others.