Verbal Analysis: Unlocking the Lydian 5 Tone Barre

The "Lydian 5 Tone Barre" presents a highly unconventional and intriguing tuning, seemingly designed for specific melodic and harmonic explorations rather than traditional open chord voicings. Its name suggests a focus on the Lydian mode, known for its bright, ethereal quality due to the #4 interval. The core concept, as described, revolves around a particular barre chord shape unlocking a significant portion of this scale. This tuning likely encourages a more melodic approach, emphasizing single-note lines and specific arpeggios, particularly when leveraging the barred positions.

Technical Analysis: Open Notes and Interval Structure

The open string notes are: D2, G#3, C#4, F#4, B3, E4. This open tuning does not readily form a simple, common chord. Examining the intervals between strings (assuming closest octaves for practical harmony where possible, but noting the specified octaves):

• String 6 (D2) to String 5 (G#3): A very wide interval. If taken as D2 to G#2, it's an Augmented 4th (or Diminished 5th), 7 semitones. However, the specified G#3 makes it an octave higher, resulting in an exceptionally wide, almost two-octave jump from D2 to G#3.
• String 5 (G#3) to String 4 (C#4): Perfect 4th (5 semitones).
• String 4 (C#4) to String 3 (F#4): Perfect 4th (5 semitones).
• String 3 (F#4) to String 2 (B3): Perfect 4th (5 semitones) - note the descending octave on B3 relative to F#4.
• String 2 (B3) to String 1 (E4): Perfect 4th (5 semitones).

From the 5th string to the 1st string, we see a consistent stack of Perfect 4ths (with an octave displacement on string 2). The open strings themselves (D, G#, C#, F#, B, E) combine to create a highly dissonant, extended chord. If D is considered the root, it approximates a Dmaj7(#11)add6add9 with no 5th, but the specific octave placements would make such a chord voicing extremely wide and potentially impractical as an open strum.

The Barred 3rd Fret: F Lydian Exploration

According to the tuning description, barring the third fret should yield a Lydian scale mode. When barring the third fret, the notes produced are:

• String 6: D2 + 3 frets = F2
• String 5: G#3 + 3 frets = C4
• String 4: C#4 + 3 frets = E4
• String 3: F#4 + 3 frets = A4
• String 2: B3 + 3 frets = D4
• String 1: E4 + 3 frets = G4

The resulting notes are F, C, E, A, D, G. Reordered into a scale from F, these are F G A C D E. This collection of notes forms a rich Fmaj7(add2, add6) chord, or an Fmaj13 (without the 11th). While the original description states it's the "Lydian scalemode with the exception of the fifth tone," an analysis of F G A C D E shows that it does include the perfect fifth (C), but is missing the Lydian augmented fourth (B). It represents a significant portion of the F Lydian scale, allowing for complex, consonant voicings and melodic possibilities centered around F major harmony with extensions. This makes the tuning particularly interesting for jazz, fusion, or experimental music where rich, open voicings are desired.

Open String Notes

The open strings of your guitar in Lydian 5 Tone Barre tuning will resonate with the following notes:

• String 6 (Low E string position): D2
• String 5 (A string position): G#3
• String 4 (D string position): C#4
• String 3 (G string position): F#4
• String 2 (B string position): B3
• String 1 (High E string position): E4

How to Tune Your Guitar

To achieve the Lydian 5 Tone Barre tuning from standard EADGBe tuning, follow these precise adjustments for each string:

• String 6 (E): Tune down 2 semitones to D2.
• String 5 (A): Tune down 1 semitones to G#3.
• String 4 (D): Tune down 1 semitones to C#4.
• String 3 (G): Tune down 1 semitones to F#4.
• String 2 (B): Keep as is; no change (0 semitones) to B3.
• String 1 (E): Keep as is; no change (0 semitones) to E4.

Important Note on Octaves: The tuning instructions from the 'string_movements' data describe tuning strings 5, 4, and 3 down by one semitone from their standard EADGBe pitches (A2 to G#2, D3 to C#3, G3 to F#3 respectively). However, the target notes provided in 'tuning_notes' for these strings (G#3, C#4, F#4) are an octave higher than what a simple 1-semitone drop from standard would yield. Achieving these higher target notes (G#3, C#4, F#4) from standard gauge strings would typically involve tuning up significantly (11 semitones) rather than down 1 semitone. Please use a chromatic tuner to ensure you reach the precise target notes specified in the "Open String Notes" section. If aiming for the higher octaves (G#3, C#4, F#4) from standard gauge strings, extreme caution is advised, and a lighter string gauge may be necessary to prevent string breakage or damage to your instrument. Tuning up by more than 4 semitones on any string generally requires a different string gauge to ensure safety and optimal tension.