Tuning Analysis: Kent Nishimura

The "Kent Nishimura" tuning presents a highly unique and experimental approach to guitar voicing, moving far beyond conventional open tunings or standard configurations. As indicated by its use by Kent Nishimura, this tuning is likely designed for very specific melodic and harmonic explorations, particularly suited for intricate fingerstyle compositions rather than strummed open chords.

Technical Analysis

The open string notes are: D♯3, C3, D♯4, G3, A♯4, F♯5 (from lowest to highest string). This collection of notes does not immediately form a standard major or minor chord, suggesting a tuning built for dissonance, specific intervals, or complex polyphonic textures.

A closer look at the intervals between adjacent strings reveals its unconventional nature:

• 6th (D♯3) to 5th (C3): A descending Major 2nd (or an ascending Minor 7th). This interval creates a rich, potentially dissonant foundation.
• 5th (C3) to 4th (D♯4): An ascending Major 9th (octave + Major 2nd). This is a significantly wide gap, creating a huge textural separation between these strings, allowing for distinct bass lines and higher voicings.
• 4th (D♯4) to 3rd (G3): A descending Perfect 5th (or an ascending Perfect 4th). Another non-standard descending interval for adjacent strings.
• 3rd (G3) to 2nd (A♯4): An ascending Major 9th (octave + Major 2nd). Similar to the 5th-4th string relationship, this wide interval allows for great separation between melody and harmony lines.
• 2nd (A♯4) to 1st (F♯5): A descending Major 3rd (or an ascending Minor 6th).

Open Chords and Reachable Shapes

Due to the highly dissonant and widely spaced nature of the open strings (D♯3, C3, D♯4, G3, A♯4, F♯5), this is not an open chord tuning in the traditional sense. Strumming all open strings might produce a rich, complex cluster, but not a familiar major, minor, or dominant chord. However, the unique intervals could facilitate:

• Drone Effects: The lower D♯3 and C3 could provide a drone, with higher strings playing melodic lines above them.
• Sparse Voicings: Two- or three-string voicings across non-adjacent strings could yield interesting harmonic colors, especially utilizing the octave jumps. For example, playing the 5th (C3) and 3rd (G3) strings together creates a perfect 5th, while adding the 1st string (F♯5) introduces a tritone.
• Polyphonic Fingerstyle: This tuning would excel in fingerstyle pieces where bass notes, inner voices, and melodies can be played on separate, widely spaced strings without interference, allowing for greater clarity and distinction between parts.

How to Tune

To achieve the Kent Nishimura tuning, follow these specific string adjustments. Please note that these instructions specify the movement of each string to reach its target note.

• 6th String (Lowest): Tune down 1 semitones to D♯3.
• 5th String: Tune up 3 semitones to C3.
• 4th String: Tune up 1 semitones to D♯4.
• 3rd String: Keep as is; no change (0 semitones) to G3.
• 2nd String: Tune down 1 semitones to A♯4.
• 1st String (Highest): Tune up 2 semitones to F♯5.

Important Note on String Gauge: All string movements in this tuning are within a range of -1 to +3 semitones. While tuning up 3 semitones on the 5th string is a notable change, it does not exceed the general recommendation of +/- 4 semitones where a change in string gauge is usually advised. However, always exercise caution when adjusting string tension. If you experience excessive tension or difficulty keeping the string in tune, consider using a different string gauge or consulting a professional luthier.