The 'C# Esus2 Creative Tuning' for Guitar is a unique and harmonically rich setup, crafted from a desire to explore new sonic landscapes. As described by its creator, this tuning originated from playing an Esus2 chord in standard tuning and a subsequent exploration to achieve a specific melodic and harmonic intention, particularly aiming for a C bass note in a following chord. While the lowest string ultimately landed on C#, this tuning offers a compelling blend of familiar and unexpected tonal qualities.

Verbal Analysis: This tuning embodies a personal journey of musical discovery. It's designed to evoke a specific emotional response and facilitate unique chord voicings that are not readily available in standard tuning. The user's goal to drop the high E to a D (which resulted in D# in the final tuning) and the desire for a C (resulting in C#) bass demonstrate an ear-led approach to guitar setup. The adjustment of the D string to E also shows a practical consideration for playability, reducing reach for specific chord shapes, making this a highly personalized and expressive tuning.

Technical Analysis:

The open strings in this tuning are, from low to high: C#3, A2, E3, G3, B3, D#5. This collection of notes creates a dense and interesting harmonic palette. Analysing the intervals and potential open chords:

• Harmonic Content: The notes C#, A, E, G, B, D# prominently feature the pitches of an E minor 7 chord (E-G-B-D#) with added C# (the major 6th of E, or root of its relative minor) and A (the perfect 4th of E, or minor 3rd of C#). Alternatively, it can be viewed as a C# minor triad (C#-E-G) extended with A, B, and D#. The overall tonality leans towards E Major / C# minor, with the D# adding a distinct flavor, often functioning as a leading tone or major 7th to E.
• Open Chords: This tuning readily offers several open chord possibilities due to its unique intervals:
  • An open C# minor triad (C#3-E3-G3) is available across strings 6, 4, and 3.
  • An open E minor triad (E3-G3-B3) is easily accessible on strings 4, 3, and 2.
  • An open A major triad (A2-C#3-E3) can be voiced using strings 5, 6, and 4.
  The tuning invites exploration of extended jazz chords and rich, layered arpeggios.
• Unusual Octaves & String Gauge Advisory: A notable characteristic of this tuning, as specified in the tuning notes, is the presence of C#3 on the lowest string (typically E2 in standard tuning) and especially D#5 on the highest string (typically E4). A D#5 is an octave higher than a standard high E string tuned down one semitone (D#4) and is extremely high pitched for a standard guitar string. Achieving D#5 would likely require an extremely thin gauge string, specific guitar modifications, or could potentially be a notational error where D#4 was intended. The C#3 on the low string is also higher than the implied C#2 if tuning down a standard E2. Players should be aware of these octave considerations as they may impact playability, string choice, and potential for string breakage. Tuning up or down more than 4 semitones often warrants a different string gauge, and while the individual string movements are mostly within a safe range, the target octaves for strings 6 and 1 are crucial considerations.

This tuning is ideal for players seeking to break away from conventional voicings, offering a lush, extended harmonic foundation that encourages experimentation with arpeggios, melodic lines, and drone notes, particularly in the keys of E major or C# minor.

Tuning Notes & How to Tune

Here are the target notes for each string, followed by instructions on how to achieve them from standard EADGBE guitar tuning (E2 A2 D3 G3 B3 E4), noting any octave discrepancies between the specified target note and the direct result of the movement from standard.

• String 6 (Low E) to C#3: Tune down 3 semitones. From a standard E2, this movement would typically result in C#2. The specified target of C#3 is an octave higher than what the movement from standard E2 would produce, suggesting a starting instrument with a higher low E octave or an intended upward octave shift from the implied result.
• String 5 (A) to A2: Keep as is; no change (0 semitones). This matches standard A2.
• String 4 (D) to E3: Tune up 2 semitones. From a standard D3, this movement results in E3. This is a moderate tension increase, generally safe for standard string gauges.
• String 3 (G) to G3: Keep as is; no change (0 semitones). This matches standard G3.
• String 2 (B) to B3: Keep as is; no change (0 semitones). This matches standard B3.
• String 1 (High E) to D#5: Tune down 1 semitone. From a standard E4, this movement would typically result in D#4. The specified target of D#5 is an octave higher than what the movement from standard E4 would produce. This note is exceptionally high for a standard guitar string (13 semitones above standard E4) and might require a very light gauge string, careful tuning, or specialized equipment to prevent breakage or achieve proper intonation. While the -1 semitone adjustment itself is minimal, the target octave for D#5 is a critical factor for string suitability.