Tuning Analysis: Major Thirds Reverse

The "Major Thirds Reverse" is an innovative and highly unconventional tuning for the Guitar, moving far beyond standard configurations to unlock unique harmonic and melodic possibilities. As described, this "M3 Tuning" is specifically designed to excel in "chord inversions" and facilitate "easier Albert King Bends," suggesting a focus on advanced techniques and specific tonal palettes rather than conventional open chord shapes.

Technical Breakdown:

Unlike traditional tunings that often feature consistent intervals between adjacent strings, Major Thirds Reverse presents a highly irregular intervallic structure across its open strings:

• String 6 (C#3) to String 5 (A2): Minor Third Down (3 semitones)
• String 5 (A2) to String 4 (F3): Minor Sixth Up (8 semitones)
• String 4 (F3) to String 3 (C3): Perfect Fourth Down (5 semitones)
• String 3 (C3) to String 2 (A3): Major Sixth Up (9 semitones)
• String 2 (A3) to String 1 (F4): Minor Sixth Up (8 semitones)

This distinct arrangement features notable repetitions of notes: A (A2, A3) and F (F3, F4), along with C (C3) and C# (C#3). The overall pitch range spans from A2 to F4, covering approximately two octaves. This wide and varied intervallic landscape is likely the key to its stated benefits, allowing for unexpected voicings and melodic approaches. The presence of both C and C# adds a bluesy or modal tension within the tuning.

Verbal Analysis & Playability:

The "Major Thirds Reverse" is a specialist tuning that will immediately challenge guitarists accustomed to standard or even common open tunings. The large and inconsistent jumps between strings mean that familiar scale and chord shapes will not translate directly. Instead, players will need to explore new fingerings, which aligns with its purpose for "chord inversions." The presence of multiple A and F notes throughout the tuning creates a potential for rich, resonant chords centered around F major or A minor harmonies, especially if the C# on the 6th string is selectively employed or muted. For example, playing strings 5-4-3-2-1 open (A2, F3, C3, A3, F4) forms an F Major chord with an A in the bass (F/A).

The mention of "easier Albert King Bends" suggests that the string tension or the melodic layout on the higher strings is optimized for aggressive blues-style string bending. This could imply a setup where the higher strings are tuned to facilitate these bends, or that the specific intervals created by fretting lend themselves well to these particular melodic movements, making large interval bends more achievable and expressive.

This tuning is highly recommended for experimental players, blues guitarists looking for a unique edge, or anyone seeking to break free from traditional fretboard logic and discover new harmonic territories. It demands a fresh approach to the instrument, rewarding exploration with distinctive sounds and playing techniques.

Considerations for Players:

• Due to the significant pitch changes required from a standard setup, particularly the large downward tuning of string 3, carefully consider string gauges to avoid breakage and ensure optimal playability. The "How to Tune" section below provides detailed guidance.
• Muting techniques will be crucial due to the close proximity of C and C# notes on adjacent strings, allowing for precise control over harmonic choices.
• This tuning is an excellent candidate for slide guitar, where the unique open string intervals can be leveraged for expressive glissandos and drones.

Tuning Notes (from Low E to High E string):

String 6: C3#
String 5: A2
String 4: F3
String 3: C3
String 2: A3
String 1: F4

How to Tune:

To achieve the "Major Thirds Reverse" tuning, adjust your guitar strings according to the following instructions. It is highly recommended to use a reliable digital tuner. Please exercise caution when tuning, especially with larger pitch adjustments.

• String 6 (Low E String equivalent): Tune to C#3. This requires you to tune down 3 semitones from its previous position.
• String 5 (A String equivalent): Tune to A2. Keep as is; no change (0 semitones).
• String 4 (D String equivalent): Tune to F3. This requires you to tune up 3 semitones from its previous position.
• String 3 (G String equivalent): Tune to C3. This is a significant change: tune down 7 semitones from its previous position. Caution: This large downward tuning might require a different string gauge to maintain proper tension and tone.
• String 2 (B String equivalent): Tune to A3. This requires you to tune down 2 semitones from its previous position.
• String 1 (High E String equivalent): Tune to F4. This requires you to tune up 1 semitone from its previous position.

Important Note on String Gauges: For strings requiring movements of 4 or more semitones (either up or down), it is often advisable to consider using a different string gauge to ensure optimal playability, tone, and to prevent string breakage or excessive floppiness.