Augmented D Tuning: A Compact Chord System

The tuning, aptly named 'Aug D' by its creator, is designed with a very specific goal: to streamline chord shapes across the fretboard. Its primary aim is to ensure that 'all base triad shapes no more than across 4 frets unlike standard tuning which has the Root interval stretch to 5 frets for diminished triads/chords.'

This philosophy suggests a focus on playability and efficiency, particularly for players who want to navigate complex harmony with minimal hand movement. By limiting the fretboard span for common triads, the tuning aims to make certain voicings more accessible and less physically demanding.

Technical Analysis & Open String Voicing

Based on the provided target notes, the open string pitches are:

• 6th String: D2
• 5th String: G2
• 4th String: B2
• 3rd String: E3
• 2nd String: A3
• 1st String: C#5

Let's examine the intervals between these open strings:

• D2 to G2 (6th to 5th string): Perfect 4th (5 semitones)
• G2 to B2 (5th to 4th string): Major 3rd (4 semitones)
• B2 to E3 (4th to 3rd string): Perfect 4th (5 semitones)
• E3 to A3 (3rd to 2nd string): Perfect 4th (5 semitones)
• A3 to C#5 (2nd to 1st string): This is an extraordinarily large interval of 28 semitones (two octaves and a major third). If this is indeed the intended note, it represents a significant departure from standard guitar ranges and implies a string under extreme tension or a highly specialized instrument setup, as C#5 is generally an exceptionally high pitch for a guitar's highest string, especially when achieved by tuning down from a standard E4. This specific high note profoundly impacts the tuning's overall character and playability.

Ignoring the anomalous high string for a moment, the pattern of P4-M3-P4-P4 for the lower strings creates a relatively consistent and accessible framework for chord shapes, reminiscent of 'all fourths' tunings but with the standard major third break found in traditional tuning between the G and B strings. This pattern would indeed facilitate the goal of compact triad shapes.

With the provided target notes (D2-G2-B2-E3-A3-C#5), the open strings form a rich, complex sonority. Arranging these notes (D, E, G, A, B, C#), they outline a D Major 13 chord with an added 11th (Dmaj13(add11)), giving it a bright, expansive, and somewhat jazzy or Lydian flavor. However, the practical implications of C#5 as an open string are critical for any player to consider.

Potential Chord Shapes & Playability

The consistent P4/M3/P4/P4 intervals in the lower five strings would make movable chord shapes, particularly major and minor triads, feel very intuitive. Power chords and other common voicings would be easily transposed across the neck. The stated goal of limiting triad stretches to four frets seems achievable for these lower strings. However, the extreme pitch of C#5 on the first string would necessitate a re-evaluation of all shapes involving that string, potentially creating very wide stretches or rendering many shapes impractical without significant re-fingerings or chord omissions. This high string could lend itself to unique melodic possibilities or extremely bright, shimmering textures if it can be practically achieved.

Tuning Notes for Augmented D

The target notes for this tuning are as follows. Please pay special attention to the 1st string:

• 6th String: D2
• 5th String: G2
• 4th String: B2
• 3rd String: E3
• 2nd String: A3
• 1st String: C#5

Note: The specified target note for the 1st string, C#5, is exceptionally high for a standard guitar and would typically require specialized string gauges, a very short scale length, or specific instrument modifications to achieve safely and effectively. It is generally outside the common playable range of a standard guitar.

How to Tune (from Standard EADGBe)

To achieve this tuning, starting from standard guitar tuning (E2-A2-D3-G3-B3-E4), make the following adjustments:

• 6th String (E2): Tune down 2 semitones to D2.
• 5th String (A2): Tune down 2 semitones to G2.
• 4th String (D3): Tune down 3 semitones to B2.
• 3rd String (G3): Tune down 3 semitones to E3.
• 2nd String (B3): Tune down 2 semitones to A3.
• 1st String (E4): Tune down 3 semitones to C4.

Important Discrepancy Note: There is a significant conflict regarding the 1st string. The 'How to Tune' instructions (tuning E4 down 3 semitones) result in a C4 note. However, the 'Tuning Notes' section above specifies C#5 as the target. C#5 is 13 semitones higher than C4. Achieving C#5 from E4 would require tuning up 9 semitones, not down 3. Tuning up 9 semitones from E4 to C#5 is an extreme upward tension that would almost certainly snap a standard high E string and could damage the guitar. Please verify the intended target note for the high string, as the provided tuning method and target note are contradictory and the C#5 target is practically unachievable via tuning down or even safely tuning up from a standard E4.

String Gauge Advice

Based on the specified string movements (all within -3 semitones), no immediate change in string gauge is strictly necessary for the tuning *process itself* for the resultant D2-G2-B2-E3-A3-C4 tuning. However, if the goal is genuinely to achieve C#5 on the 1st string, a much thinner and specialized string gauge designed for extremely high tension would be absolutely essential, along with careful consideration of the instrument's structural integrity. Using a standard gauge string and attempting to reach C#5 from E4 by tuning up could be highly risky.