Jeremy M Klein's Tuning: A Deep Dive

This is a highly personalized and unconventional tuning, meticulously crafted by Jeremy M Klein in 1998, intended for his exclusive use. As described by its creator, it is "completely incompatible with standard tuning," featuring low strings that are significantly lower and high strings that are notably higher than in standard, though not in equal measure. This design dramatically expands the guitar's sonic range, promising a fresh and unique sound palette that compels players to abandon familiar chord shapes and explore new harmonic and melodic possibilities.

Technical Analysis

• Open Notes: The tuning features the following open string notes from low to high: D2, G#3, C3, A3, D4, F#5.
• Overall Range: This tuning boasts an exceptionally wide range, spanning from a very low D2 to a very high F#5. This covers nearly three full octaves, substantially extending both the bass and treble capabilities of a standard guitar.
• Intervals Between Strings: The intervals between adjacent open strings are highly irregular and unconventional:
  • 6th to 5th (D2 to G#3): An augmented 4th plus an octave (18 semitones). This is an unusually large leap, creating a vast sonic chasm between the two lowest strings.
  • 5th to 4th (G#3 to C3): A descending interval of 9 semitones (effectively a minor 6th down). This is another substantial and unexpected drop in pitch.
  • 4th to 3rd (C3 to A3): A major 6th up (9 semitones).
  • 3rd to 2nd (A3 to D4): A perfect 4th up (5 semitones).
  • 2nd to 1st (D4 to F#5): A major 3rd plus an octave (14 semitones). This represents another significant upward jump.
• Harmonic Implications & Chords: The open strings (D, G#, C, A, D, F#) create a complex and somewhat dissonant cluster when strummed together. While not forming a simple, conventional open chord, the presence of D (strings 6, 2), F# (string 1), and A (string 3) provides the core notes for a D Major chord (D-A-D-F#). This suggests that D Major and related voicings could be readily accessible by selectively muting or avoiding the G#3 (string 5) and C3 (string 4) strings. The G# and C notes introduce a tritone (augmented 4th) relationship when sounded together, which can be highly dissonant or melodically rich depending on the musical context. This tuning encourages horizontal playing and seeking out entirely new fingerings, as standard chord shapes will be completely redefined. Its extreme intervals make it particularly suitable for open, ringing drone-like textures, complex harmonies, or intricate single-note melodic exploration across its wide pitch spectrum. Due to the wide spread of notes, partial chords or arpeggiated figures are likely to be more effective than full strums of all open strings.

How to Tune Jeremy M Klein's Tuning

To achieve this unique tuning, follow these adjustments from standard EADGBe (E2 A2 D3 G3 B3 E4):

• 6th String (Low E): Tune down 2 semitones to D2.
• 5th String (A): Tune down 1 semitones to G#3.
• 4th String (D): Tune down 2 semitones to C3.
• 3rd String (G): Tune up 2 semitones to A3.
• 2nd String (B): Tune up 3 semitones to D4.
• 1st String (High E): Tune up 2 semitones to F#5.

Tuning Caution: While the individual semitone movements specified in the tuning instructions are generally within safe limits for string tension (none exceed 4 semitones up or down), the resulting absolute pitches on some strings, particularly G#3 for the 5th string and F#5 for the 1st string, represent a significant departure from typical standard EADGBe octaves. Achieving these pitches may put considerable tension on your strings or guitar neck if you are using standard string gauges. For optimal playability and to ensure the safety of your instrument, consider consulting a luthier or utilizing appropriate string gauges (e.g., lighter gauges for strings tuned significantly higher, heavier gauges for strings tuned significantly lower).