Tuning Analysis: A Minor thirds Drop D

This unique tuning, named "A Minor thirds Drop D", is designed for a 7-string guitar and presents an intriguing and highly unconventional setup. While its name suggests a straightforward application of minor third intervals, the actual open string pitches reveal a more complex and notably re-entrant structure.

The tuning establishes a deep foundation with the lowest string, String 7, tuned to D2. This is the "Drop D" component, providing a powerful, resonant bass. Moving up, String 6 is A2, forming a perfect fifth with D2, and String 5 is C3, a minor third above A2. Together, these three lowest strings (D2-A2-C3) distinctly outline a D minor triad in the bass register, offering a strong harmonic anchor.

The tuning then takes an unexpected turn. String 4 is set to D4# (Eb4), which is a significant leap of a minor tenth (an octave plus a minor third) from C3. Following this, String 3 is tuned to G4# (Ab4), an augmented fourth (or tritone) above D4#.

A most notable technical characteristic is the re-entrant interval between String 3 and String 2. String 2 is tuned to A3, which is actually lower in pitch than String 3 (G4#). This pitch inversion creates distinctive voicings and fundamentally alters traditional chord shapes, opening up opportunities for unique arpeggios, drones, and melodic lines not typically found in conventional tunings. Finally, the highest string, String 1, is C4, a minor third above A3, completing the re-entrant section with a clear minor third interval.

From a technical standpoint, this tuning is highly experimental. The full open string configuration of D2-A2-C3-D#4-G#4-A3-C4 contains a mix of intervals: perfect fifths (D2-A2), minor thirds (A2-C3, A3-C4), a minor tenth (C3-D#4), and an augmented fourth (D#4-G#4). This blend creates a complex sonic landscape that might lean towards dissonance if strummed openly across all strings, but offers rich harmonic possibilities when played selectively. Players will find familiar chord shapes largely unusable and will need to explore new fingerings to harness its full potential.

Due to the substantial upward and downward string movements required for tuning (particularly String 6 up 5 semitones and String 1 down 4 semitones), careful consideration of string gauge is advised to ensure optimal tension, intonation, and to prevent string breakage or excessive floppiness. The re-entrant nature also means that intonation across the fretboard may require careful adjustment.

Open String Notes & How to Tune

Below are the target notes for each string, from the lowest (String 7) to the highest (String 1), followed by detailed instructions on how to achieve this tuning, based on the specified semitone movements from a theoretical standard setup.

• String 7: D2
• String 6: A2
• String 5: C3
• String 4: D4# (Eb4)
• String 3: G4# (Ab4)
• String 2: A3
• String 1: C4

How to Tune:

• String 7 (D2): Tune up 3 semitones.
  Note: Tuning up 3 semitones is a moderate adjustment; proceed carefully to avoid over-tightening.
• String 6 (A2): Tune up 5 semitones.
  Caution: This is a significant upward adjustment (5 semitones). For movements of 4 semitones or more upwards, it is strongly advised to use a lighter gauge string to prevent breakage and ensure proper tension.
• String 5 (C3): Tune up 3 semitones.
  Note: Tuning up 3 semitones is a moderate adjustment; proceed carefully to avoid over-tightening.
• String 4 (D4#): Tune up 1 semitone.
• String 3 (G4#): Tune up 1 semitone.
• String 2 (A3): Tune down 2 semitones.
• String 1 (C4): Tune down 4 semitones.
  Note: Tuning down 4 semitones is a significant adjustment. For such a large drop, consider using a heavier gauge string for this string to maintain adequate tension and prevent excessive floppiness.