This unique guitar tuning, famously used by Antoine Dufour in his song "30 Minutes in London," presents a captivating sonic landscape. As described, it may require some initial adaptation for players accustomed to standard tunings, but its rewards are significant, particularly for folk music and exploring rich harmonic textures.

Verbal Analysis

The '30 Minutes in London' tuning offers a distinct open and ambient quality, characterized by its non-linear intervallic relationships. While the lower strings hint at a deep C# minor tonality (C#, G#, E), the upper strings introduce a brighter B major feel (B, D#, F#). This blend of C# minor in the bass and B major in the treble creates a complex yet resonant harmonic foundation, ideal for intricate fingerstyle arrangements and expressive melodic lines. The significant jumps and drops in pitch between certain strings (e.g., G# to E, E to F# an octave higher, F# to B) provide unique voicings that are difficult to achieve in standard tuning, lending themselves well to the exploration of natural and artificial harmonics.

Technical Analysis

The open string notes are C#3 - G#3 - E3 - F#4 - B3 - D#5 (from 6th to 1st string). This configuration presents a fascinating intervallic structure:

• 6th String (C#3) to 5th String (G#3): A perfect fifth (P5) up. This provides a strong, resonant bass foundation.
• 5th String (G#3) to 4th String (E3): A descending minor third (m3). This inversion is quite unusual and contributes significantly to the tuning's unique voicing, placing the 4th string lower than the 5th.
• 4th String (E3) to 3rd String (F#4): An ascending major second (M2), but crucially, the F# is an octave higher, creating a wide jump that adds sparkle and complexity.
• 3rd String (F#4) to 2nd String (B3): A descending perfect fourth (P4). Another notable drop in pitch, contributing to the non-linear feel.
• 2nd String (B3) to 1st String (D#5): An ascending major third (M3), with the D# also an octave higher than one might expect relative to the B3.

The open strings combine to form a unique harmony. The lowest three strings (C#3, G#3, E3) strongly imply a C# minor (C#m) or C#sus4 (if considering the F# on the 3rd string) tonality, providing a deep, resonant bass. The higher strings (F#4, B3, D#5) surprisingly outline a B Major triad (B, D#, F#). This superimposition of a C# minor feel over a B Major triad creates a sophisticated, almost modal sound that is both melancholic and uplifting, perfect for the expressive qualities mentioned in the description.

Open Chord Possibilities

Due to the distinct intervallic relationships, standard chord shapes will likely be challenging or impossible. However, the open strings themselves offer:

• C# Minor / C#5: The low C#, G#, E provide a strong foundation for C# minor based harmonies.
• B Major: The B, D#, F# notes are available across the higher strings, allowing for open B Major voicings.
• Modal and Suspended Sounds: The unique note combination lends itself to creating open, suspended, or modal chord voicings that evoke a dreamy or contemplative atmosphere. The wide intervals are particularly suited for arpeggiated patterns and harmonic explorations, as Antoine Dufour demonstrates.

Open String Notes

Here are the target notes for each string in this tuning, from the thickest (6th) to the thinnest (1st):

• 6th String: C3#
• 5th String: G3#
• 4th String: E3
• 3rd String: F4#
• 2nd String: B3
• 1st String: D5#

How to Tune '30 Minutes in London'

To achieve the '30 Minutes in London' tuning, start from standard EADGBe tuning and adjust each string as follows:

• 6th String (Low E): Tune down 3 semitones from E to C3#.
• 5th String (A): Tune down 1 semitone from A to G3#.
• 4th String (D): Tune up 2 semitones from D to E3.
• 3rd String (G): Tune down 1 semitone from G to F4#.
• 2nd String (B): Keep as is; no change (0 semitones) from B to B3.
• 1st String (High E): Tune down 1 semitone from E to D5#.

Important Note: All string adjustments in this tuning are within a safe range (maximum -3 semitones down or +2 semitones up). Therefore, a different gauge string is not generally advised for this particular tuning, and you can safely use your standard strings.