The tuning known as D Augmented Major Thirds with Octave Shifts (originally referenced as M3D) presents a fascinating and highly experimental setup for the guitar. While its descriptive aim is a repetitive pattern of D, F#, A# based on major third intervals, the actual implementation across the fretboard includes significant octave displacements and a unique interval on the third string, creating a distinct sonic landscape.

Verbal Analysis

This tuning immediately stands out with its open strings, which broadly outline a D Augmented triad (D, F#, A#), but spread across multiple octaves with some intriguing shifts. The presence of these wide intervals, particularly the Major 10ths between strings 6-5 and 3-2, and the Major 3rds on 5-4 and 2-1, provides a very open and resonant sound. Chords played using all open strings will inherently possess an augmented quality, lending themselves to experimental music, jazz, or compositions requiring a slightly dissonant yet rich harmonic foundation. The significant drop from the 4th string (A#3) to the 3rd string (D3) by a diminished 5th (8 semitones) is a highly unusual and challenging interval. It deliberately breaks the consistent "major thirds repetitive" pattern and will require players to rethink conventional chord shapes and scale patterns, potentially leading to entirely new voicings and melodic possibilities.

Playing in this tuning could feel expansive, with notes ringing out across a broad range. While traditional chord voicings might be difficult or impossible without significant re-learning, simple one-finger barres would still produce a series of augmented chords (e.g., barring all strings at the first fret would yield a D# Augmented chord), offering a powerful, droning quality. Arpeggiating the open strings would create soaring, open textures. It's a tuning that encourages deep exploration beyond standard guitar pedagogy.

Technical Analysis

The tuning's notes are set as follows, from lowest to highest pitch:

• String 6: D2 (Low D)
• String 5: F#3 (F-sharp, an octave and a Major 3rd above D2 – a Major 10th interval, 16 semitones)
• String 4: A#3 (A-sharp, a Major 3rd above F#3 – 4 semitones)
• String 3: D3 (D, a Diminished 5th DOWN from A#3 – 8 semitones, breaking the major thirds pattern)
• String 2: F#4 (F-sharp, an octave and a Major 3rd above D3 – a Major 10th interval, 16 semitones)
• String 1: A#4 (A-sharp, a Major 3rd above F#4 – 4 semitones)

The open strings collectively spell out a D Augmented chord (D F# A#), albeit with significant octave displacements. The interval relationships between adjacent strings are: Major 10th (6-5), Major 3rd (5-4), Diminished 5th Down (4-3), Major 10th (3-2), and Major 3rd (2-1). The most notable deviation from the "Major thirds repetitive" description is the substantial downward leap of 8 semitones from A#3 on string 4 to D3 on string 3. This irregular interval will significantly alter standard chord shapes and requires specific adaptation.

Due to the wide interval leaps and the overall tension changes required, players might find standard gauge strings feel either too slack or too taut on certain strings. For optimal playability and to prevent potential string breakage or neck damage, considering a custom string gauge set is highly recommended, especially for the strings requiring movements of 5 or more semitones.

How to Tune (from Standard EADGBe)

This section outlines the tuning adjustments required for each string from standard EADGBe tuning. Please note that several strings require significant pitch changes. For movements exceeding 4 semitones (either up or down), a different string gauge is strongly advised to maintain playability and ensure string and instrument safety.

Here are the required adjustments:

• String 6 (Low E): Standard E2. Tune down 2 semitones to D2. (This movement is safe and correctly leads to the target note.)
• String 5 (A): Standard A2. Tune down 3 semitones. This movement would typically result in F#2. However, the target note for this tuning is F#3, an octave higher than what the tuning movement suggests. This implies either a very thin string gauge or a pre-existing setup for this octave shift is intended.
• String 4 (D): Standard D3. Tune down 4 semitones. This movement would typically result in B2. However, the target note for this tuning is A#3, which is significantly different from B2, both in pitch and octave. This suggests the tuning instructions might refer to a different starting point or an implied octave jump/string gauge.
• String 3 (G): Standard G3. Tune down 5 semitones to D3. (This movement is correct for the target note. Caution: tuning down 5 semitones is a significant change; a heavier gauge string may be beneficial to maintain tension and tone.)
• String 2 (B): Standard B3. Tune down 5 semitones. This movement would typically result in F#3. However, the target note for this tuning is F#4, an octave higher than what the tuning movement suggests. Caution: tuning down 5 semitones is significant; a heavier gauge string may be beneficial.
• String 1 (High E): Standard E4. Tune down 6 semitones. This movement would typically result in A#3. However, the target note for this tuning is A#4, an octave higher than what the tuning movement suggests. Caution: tuning down 6 semitones is a very significant change; a heavier gauge string is strongly advised.

Important Note on Discrepancies: Please be aware that for strings 5, 4, 2, and 1, the provided tuning movement (e.g., "Tune down 3 semitones" from standard EADGBe) does not directly lead to the specified target note (e.g., F#3 for string 5) without an implied octave shift or the use of specific string gauges. The description above provides both the tuning instruction from standard EADGBe and the final target note as listed in the tuning definition.