Verbal Analysis

The James Blackshaw tuning presents a rich, open, and resonant sound, heavily rooted in a D Major tonality. The abundance of D and F# notes across multiple octaves creates a full, almost drone-like quality on the lower strings. This tuning evokes a sense of spaciousness and introspection, lending itself well to arpeggiated figures, fingerstyle compositions, and ambient soundscapes. The interplay of the open G and A strings (the 4th and 5th of D) with the strong D Major foundation offers a beautiful blend of consonance and subtle suspension, allowing for melodic exploration without straying too far from the core harmony. It feels like a tuning designed for expressive playing, where the open strings themselves contribute significantly to the harmonic texture.

Open chords are immediately vibrant: simply strumming all six strings yields a rich D Major chord with an added G and A, giving it a unique flavor, perhaps best described as a Dmaj(add4)(add5) or a Dsus4/add2. Moving a single finger can drastically alter the harmony, making complex voicings surprisingly accessible. For instance, barring all strings at the 2nd fret would produce an E Major chord with an added A and B, maintaining a similar harmonic structure shifted up. This tuning particularly shines for slide guitar, where the consistent D-F#-D-F# pattern on the lower strings provides a stable and powerful base for blues, folk, or even more experimental genres.

Technical Analysis

This tuning sets the guitar's open strings to D2 F#3 D3 F#4 G3 A3 (from low E to high E string).

The core of this tuning is built around a D Major chord (D-F#-A) across the first, third, fourth, fifth, and sixth strings. The open strings are voiced as follows:

• 6th String (D2): The root note, establishing the tonic.
• 5th String (F#3): The major third of D.
• 4th String (D3): An octave higher D, reinforcing the root.
• 3rd String (F#4): An octave higher F#, reinforcing the major third.
• 2nd String (G3): The perfect fourth of D.
• 1st String (A3): The perfect fifth of D.

The intervals between adjacent strings are particularly noteworthy:

• 6th to 5th: A Major Third (D to F#)
• 5th to 4th: A Minor Sixth (F# to D) - a large jump in pitch, creating a D octave.
• 4th to 3rd: A Major Third (D to F#)
• 3rd to 2nd: A Minor Second (F# to G) - a very close, sometimes dissonant, interval creating tension or color.
• 2nd to 1st: A Major Second (G to A)

The presence of the G (4th) and A (5th) on the two highest strings, coupled with the strong D and F# foundation, creates a rich harmonic canvas that is both stable and harmonically interesting. The string movements for this tuning are quite significant on several strings, requiring careful attention during tuning.

How to Tune

To achieve the James Blackshaw tuning from standard EADGBe:

• 6th String (Low E): Tune down 2 semitones from its standard E2 pitch to D2.
• 5th String (A): Tune down 3 semitones from its standard A2 pitch to F#3.
• 4th String (D): Keep as is; no change (0 semitones) from its standard D3 pitch to D3.
• 3rd String (G): Tune down 1 semitone from its standard G3 pitch to F#4.
• 2nd String (B): Tune down 4 semitones from its standard B3 pitch to G3. *Note: Tuning down 4 semitones is a significant change. Consider a heavier gauge string if this tuning is used frequently to maintain optimal tension and tone.*
• 1st String (High E): Tune down 7 semitones from its standard E4 pitch to A3. *Warning: Tuning down 7 semitones is a very substantial change. A significantly heavier gauge string is strongly advised for this string to avoid a very loose, floppy feel and to maintain intonation.*