Tuning Analysis: Branching Paths by Ichika Nito

The 'Branching Paths' tuning, famously used by the visionary guitarist Ichika Nito, is a highly experimental and intricate configuration designed for modern, expressive playing styles rather than traditional chordal accompaniment. This tuning pushes the boundaries of a standard guitar, creating a vast sonic landscape with extreme intervals and a diverse register.

Technical Observations:

The open strings are set to a sequence of D2 - F2 - A#3 - C#5 - G#4 - D#5 (from low E to high E string). This presents an extraordinary range and unique harmonic possibilities:

• The lowest two strings (D2 and F2) establish a dark, low minor third interval.
• A dramatic leap occurs from F2 to A#3 (an augmented 11th, or 18 semitones), followed by another significant jump from A#3 to C#5 (a major 10th, or 15 semitones). These extremely wide intervals make conventional open chords challenging and impractical.
• The higher strings, in descending order (C#5, G#4, D#5), form interesting melodic fragments. Specifically, the relationship between C#5 and G#4 is a tritone, and G#4 to D#5 is a perfect fifth. The combination of C#5, G#4, and D#5 suggests a fragmented C#sus2 arpeggio (C#, D#, G#) or elements of a more complex extended chord.
• The overall tuning prioritizes individual note articulation, arpeggiated figures, and two-hand tapping, which aligns perfectly with Ichika Nito's signature style. It encourages exploration of harmonics, legato, and complex melodic lines across the fretboard rather than standard strumming patterns. The extreme high pitches on the G, B, and high E strings (C#5, G#4, D#5 respectively) suggest the use of very light gauge strings or even custom string sets to maintain playability and prevent breakage.

Verbal Description & Playability:

This tuning evokes a sense of expansive, almost ethereal, sonic space. The low, guttural D2 and F2 provide a deep, resonant foundation, while the upper register soars with bright, piercing, and sometimes dissonant notes. It feels angular and harmonically rich, fostering a modern, progressive sound. Due to the highly irregular intervals and significant octave jumps, standard major or minor open chords are not readily available in a conventional sense. However, the tuning is ripe for creating unique voicings:

• The lowest three strings (D2, F2, A#3) can imply a D minor feel with the A#3 adding a distinctive, almost Lydian quality or a strong dissonance, depending on context.
• The upper three strings (C#5, G#4, D#5) offer fragments that can be easily tapped, hammered-on, or arpeggiated to form extended chords or suspensions, for example, a C#sus2 or G#sus4 voicing, emphasizing the bright, almost crystalline quality characteristic of Ichika's music.
• Players will find themselves moving away from traditional chord shapes and instead focusing on intervallic relationships, leading to fresh melodic and harmonic ideas often found in two-hand tapping or complex fingerstyle passages.

How to Tune:

Please approach these tuning changes with care, especially for larger adjustments. For string movements exceeding 4 semitones (either up or down), a different string gauge may be advised to prevent breakage or excessive tension/slack. Note: There appear to be discrepancies in octave indication between the specified target notes (D#5, G#4, C#5) and the semitone adjustments provided for some strings relative to standard tuning. Please pay close attention to the target note and ensure you are aiming for the correct octave, as the provided semitone movements might lead to a different octave than the specified target note. Using a chromatic tuner to hit the exact target pitch is highly recommended.

• String 6 (Low E to D2): Tune down 2 semitones.
• String 5 (A to F2): Tune down 4 semitones. (Caution: Significant change, consider string gauge.)
• String 4 (D to A#3): Tune down 4 semitones. (Caution: Significant change, consider string gauge.)
• String 3 (G to C#5): Tune up 6 semitones. (Caution: The JSON specifies tuning up 6 semitones from a standard G3 to C#5. Please note that G3 tuned up 6 semitones normally results in C#4. Reaching C#5 from G3 would typically require an 18-semitone increase. Proceed with extreme caution and ensure you are targeting C#5 if that is the desired open note. A much lighter gauge string is strongly advised for such an extreme pitch regardless.)
• String 2 (B to G#4): Tune down 3 semitones. (Caution: The JSON specifies tuning down 3 semitones from a standard B3 to G#4. Please note that B3 tuned down 3 semitones normally results in G#3. Reaching G#4 from B3 would typically require a 9-semitone increase. Proceed with caution and ensure you are targeting G#4 if that is the desired open note.)
• String 1 (High E to D#5): Tune down 1 semitone. (Caution: The JSON specifies tuning down 1 semitone from a standard E4 to D#5. Please note that E4 tuned down 1 semitone normally results in D#4. Reaching D#5 from E4 would typically require an 11-semitone increase. Proceed with caution and ensure you are targeting D#5 if that is the desired open note.)

Individual String Tuning Details:

String 6 (Lowest String): Target note is D2. This string is tuned down 2 semitones from its standard E2 pitch.
String 5: Target note is F2. This string is tuned down 4 semitones from its standard A2 pitch. Due to the significant drop, be mindful of string tension and consider a heavier gauge string.
String 4: Target note is A#3. This string is tuned down 4 semitones from its standard D3 pitch. This is a substantial drop, consider a heavier gauge string.
String 3: Target note is C#5. Based on the tuning instructions, this string is tuned up 6 semitones from its standard G3 pitch. Please note that a 6-semitone increase from G3 typically results in C#4, not C#5. Achieving C#5 from a standard G3 would typically require an 18-semitone increase. Exercise extreme caution, and a much lighter string gauge is highly recommended.
String 2: Target note is G#4. Based on the tuning instructions, this string is tuned down 3 semitones from its standard B3 pitch. Please note that a 3-semitone decrease from B3 typically results in G#3, not G#4. Achieving G#4 from a standard B3 would typically require a 9-semitone increase. Exercise caution.
String 1 (Highest String): Target note is D#5. Based on the tuning instructions, this string is tuned down 1 semitone from its standard E4 pitch. Please note that a 1-semitone decrease from E4 typically results in D#4, not D#5. Achieving D#5 from a standard E4 would typically require an 11-semitone increase. Exercise caution.