Verbal Analysis

The 'Minor Thirds Top Strings' tuning is a deeply resonant and harmonically intriguing setup, deviating significantly from standard EADGBe. It creates a robust foundation on the lower four strings, which are all tuned down by two semitones each, resulting in a coherent series of perfect fourths. This gives the bass register a rich, almost baritone quality, excellent for powerful riffing or expansive chordal accompaniment.

The true distinction, as its name suggests, lies in the top two strings. Tuned to minor thirds relative to the string below, they introduce a compact and somewhat melancholic harmonic cluster. This unique interval structure on the higher strings makes it remarkably easy to finger certain dissonant or jazz-influenced chords, as well as enabling close-voiced harmonies and intricate melodic runs. It's a tuning that encourages exploration of minor tonalities, diminished voicings, and unexpected harmonic colors, making it ideal for players seeking a distinctive sonic palette.

Technical Analysis

This tuning features the following open notes:

• String 6: D2
• String 5: G2
• String 4: C3
• String 3: F3
• String 2: G#3
• String 1: B3

The interval structure is a defining feature:

• D2 to G2: Perfect 4th (5 semitones)
• G2 to C3: Perfect 4th (5 semitones)
• C3 to F3: Perfect 4th (5 semitones)
• F3 to G#3: Minor 3rd (3 semitones)
• G#3 to B3: Minor 3rd (3 semitones)

As stated in the original description, "The two top intervals are m3.", which is precisely reflected in the F3-G#3 and G#3-B3 relationships. The tuning effectively combines a lower register tuned entirely in perfect fourths (D-G-C-F), which facilitates power chords and scalar patterns across strings, with an upper register built on minor thirds. This upper structure (F3-G#3-B3) is particularly noteworthy as it forms an F diminished triad (F - Ab - B), providing immediate access to a complex, tension-filled chord. This also makes other diminished or minor-based voicings highly accessible across the top three strings. While a conventional open major or minor chord across all six strings is not immediately present, the distinct F diminished sound on the F3-G#3-B3 strings, combined with the lower D-G-C-F, creates a rich and somewhat dissonant open sound that can be explored for unique sonic textures. Chords that benefit greatly from this tuning include diminished 7ths and minor 7th(b5) voicings, as well as complex jazz chords due to the close proximity of minor thirds and accessible perfect fourths.

Tuning Notes

The open strings for this tuning are set as follows:

• String 6 (low string): D2
• String 5: G2
• String 4: C3
• String 3: F3
• String 2: G#3
• String 1 (high string): B3

How to Tune

To achieve the 'Minor Thirds Top Strings' tuning from standard EADGBe, please follow these steps carefully. Note that some strings require significant tuning down, and heavier gauge strings may be beneficial for optimal performance.

• String 6 (Low E to D): Tune down 2 semitones. (Original E2 to D2)
• String 5 (A to G): Tune down 2 semitones. (Original A2 to G2)
• String 4 (D to C): Tune down 2 semitones. (Original D3 to C3)
• String 3 (G to F): Tune down 2 semitones. (Original G3 to F3)
• String 2 (B to G#): Tune down 3 semitones. (Original B3 to G#3)
• String 1 (High E to B): Tune down 5 semitones. (Original E4 to B3) Careful consideration: Tuning down 5 semitones is a substantial change. For optimal playability, tension, and tone, a heavier gauge string is strongly advised for this string.