Verbal Analysis

The "Breakfast in the Field" tuning, named after Michael Hedges' iconic title track, is a testament to innovative guitar voicings and extended harmonic possibilities. This tuning is renowned for enabling the intricate and rich minor and major 11 chords (1 5 3 9 7 11 and 1 5 3 9 7 #11) that are virtually impossible to achieve in standard tuning, save for a single position for the minor 11. It's a signature sound of Hedges, known for his ability to coax complex orchestral textures from a single acoustic guitar. The tuning creates an open, resonant soundscape, perfect for fingerstyle arrangements and allowing for a deeply textural and harmonically dense approach to composition. Its unique structure facilitates wide-ranging intervals and complex harmonies that shimmer and sustain.

Technical Analysis

The open strings are tuned to C2 G2 D3 D3 A3 E4. This tuning deviates significantly from standard EADGBe, creating a unique sonic landscape ideal for advanced harmonic exploration. Let's break down its structure:

• Interval Structure: A prominent feature is the abundance of perfect fifths: C2 to G2 (string 6 to 5), G2 to D3 (string 5 to 4), D3 to A3 (string 3 to 2), and A3 to E4 (string 2 to 1). This 'fifths' orientation lends itself to a very open, ringing quality and makes power chords or fifth-based voicings exceptionally easy across multiple strings.
• Unison Drone: The D3 on both the 4th and 3rd strings (D3 D3) creates a powerful unison drone. This can be used for rhythmic emphasis, creating a thick, sustained tone, or providing a consistent tonal center for melodic exploration. This also means that moving a single fret on either of these strings will create a major 2nd or minor 2nd interval, offering interesting dissonances or resolutions.
• Open Chord Voicing: The open strings, C-G-D-D-A-E, when ordered from lowest to highest unique pitches (C, D, E, G, A), form a rich Cmaj6/9 chord (C-E-G-A-D). This open voicing is inherently complex and resonant, offering a ready-made harmonic foundation without any fretting. This inherent complexity makes it easier to achieve the advanced 11th chords described in the original tuning description with minimal effort, as many of the foundational extensions are already present.
• Chordal Possibilities:
  • Due to the many perfect fifths, finding triad shapes (e.g., C major, G major, D major) is straightforward by simply barring across groups of strings, particularly on the lower and upper sets.
  • The open Cmaj6/9 provides a beautiful starting point, making it easy to shift into related major, minor, or dominant 7th chords with minimal finger movement. For instance, by simply fretting a B on the 1st string (E to B is 7 frets, or 4 semitones up from E4 to E4, then 2 frets to B), one could imply richer harmonies.
  • The deep C2 on the 6th string and the high E4 on the 1st string offer a wide dynamic range, ideal for arpeggiated figures and sprawling chord voicings that resonate across the guitar's full range.
  • The repeated D note on strings 3 and 4 provides a natural pivot point, allowing for subtle shifts in harmony by fretting around this drone. This can lead to unique intervallic relationships when fretting around this unison.
• String Tension and Gauge: Several strings are tuned down significantly. The 6th string drops 4 semitones (E to C), and the 3rd string drops a substantial 5 semitones (G to D). These considerable drops will result in significantly lower string tension and a slacker feel, contributing to the tuning's characteristic dark, resonant tone. For optimal playability and to prevent string breakage or intonation issues, it is highly recommended to use a heavier gauge string set, especially for strings 6 and 3, if this tuning is to be used regularly.

Open String Notes

• 6th String (low E): C2
• 5th String (A): G2
• 4th String (D): D3
• 3rd String (G): D3
• 2nd String (B): A3
• 1st String (high E): E4

How to Tune (from Standard EADGBe)

• 6th String (E2): Tune down 4 semitones to C2. (Original E2, Target C2) Care should be taken for tuning down this far; a heavier gauge string may be advised.
• 5th String (A2): Tune down 2 semitones to G2. (Original A2, Target G2)
• 4th String (D3): Keep as is; no change (0 semitones) to D3. (Original D3, Target D3)
• 3rd String (G3): Tune down 5 semitones to D3. (Original G3, Target D3) Care should be taken for tuning down this far; a heavier gauge string may be advised.
• 2nd String (B3): Tune down 2 semitones to A3. (Original B3, Target A3)
• 1st String (E4): Keep as is; no change (0 semitones) to E4. (Original E4, Target E4)

General Tuning Advisory: When tuning strings down by 4 or more semitones, or up by 4 or more semitones, it is generally recommended to consider using a different gauge string to maintain optimal tension, intonation, and string longevity. Extreme tension changes can also impact the guitar's neck relief and overall playability.