Overview: D#/Eb Lydian Math Tuning

This tuning, a step up from the original Gerald Thornton "D Lydian Math Tuning," immediately conjures a bright, almost ethereal sound, infused with the characteristic tension and resolution often found in math rock. The presence of the Lydian mode, particularly the prominent A (augmented fourth relative to Eb), gives it a distinctly uplifting and "dreamy" quality, while the non-standard intervals create unexpected harmonic possibilities. The wide register jump between the fifth (A#3) and fourth (D3) strings means the higher strings will ring out with shimmering clarity above a solid, low-end foundation.

Technical Analysis & Open Chords

Let's break down the intervals and harmonic potential of this unique setup:

• 6th String (D#3) to 5th String (A#3): A perfect fifth, forming a strong D#5 power chord foundation.
• 5th String (A#3) to 4th String (D3): A tritone (augmented fourth) descending. This significant drop in pitch creates a wide, open interval that is a hallmark of this tuning, contributing to its "shimmering clarity" and unique resonance. It also introduces a striking dissonance (D vs D#) when played with the 6th string.
• 4th String (D3) to 3rd String (G3): A perfect fourth.
• 3rd String (G3) to 2nd String (A3): A major second. The A natural on the second string is key to the Lydian character when considering Eb (enharmonic D#) as a root, as A is the augmented fourth (#4) in Eb Lydian.
• 2nd String (A3) to 1st String (F4): A minor third.

The open strings (D#3 A#3 D3 G3 A3 F4) offer a rich, complex sonority. Playing the 6th and 5th strings alone yields a powerful D#5 chord. Combining strings 4, 3, 2, and 1 (D G A F) creates a vibrant Dsus4 with an added minor third (F), suggesting a D minor suspended 4th, or perhaps parts of an Fmaj7sus4. The juxtaposition of D# (6th string) and D natural (4th string) creates an intense minor ninth tension, characteristic of modern progressive and math rock styles. This tuning encourages exploration of arpeggiated figures and open string drones, allowing for both lush harmonies and sharp, angular melodic lines. Standard chord shapes will be re-imagined, opening up a wealth of new voicings and sonic textures within easy reach.

How to Tune (from Standard EADGBe)

This section describes the necessary adjustments from standard EADGBe tuning to achieve the D#/Eb Lydian Math Tuning. Please proceed carefully, especially with string tension changes.

• 6th String (Low E): Tune down 1 semitone from E to D#.
• 5th String (A): Tune up 1 semitone from A to A#.
• 4th String (D): Keep as is; no change (0 semitones).
• 3rd String (G): Keep as is; no change (0 semitones).
• 2nd String (B): Tune down 2 semitones from B to A.
• 1st String (High E): Tune up 1 semitone from E to F.

Important Note: While the semitone movements for this tuning are relatively minor (all within +/- 2 semitones), always exercise caution when adjusting string tension. For tunings requiring changes of 4 semitones or more (up or down), it is generally advisable to consider a different string gauge to ensure optimal playability and string longevity.

6th String: D#3 (D sharp, 3rd octave)
5th String: A#3 (A sharp, 3rd octave)
4th String: D3 (D natural, 3rd octave)
3rd String: G3 (G natural, 3rd octave)
2nd String: A3 (A natural, 3rd octave)
1st String: F4 (F natural, 4th octave)