This unique guitar tuning, which we've named Yvette's Lowered Harmony, is a fascinating adaptation of a tuning popularized by guitarist Yvette Young (FACGAE). It is specifically designed to provide a deeper, more resonant sonic landscape, creating a distinct atmosphere ideal for alternative, progressive, or experimental genres.

Technical Analysis

The open strings are tuned to D#3, G2, A#3, F3, G3, D4 (from low E to high E). Analyzing these notes reveals a rich harmonic structure: the lowest three strings (D#3-G2-A#3) form an Eb minor triad (Eb-G-Bb), providing a solid, somewhat melancholic foundation. When all strings are strummed open, the full voicing becomes an intricate Eb minor (maj7)add9 chord (Eb-G-Bb-D-F-G). The presence of the major seventh (D) and the major ninth (F) relative to the root D# (Eb) adds complexity and a sophisticated, slightly dissonant character.

Verbal Analysis and Playability

The significant overall downtuning contributes to a noticeably deeper and more powerful sound than standard tuning, enhancing sustain and low-end presence. The unique intervallic relationships between the strings will encourage creative fingerings and chord voicings not typically found in conventional tunings. Players will find themselves exploring new shapes and melodic possibilities, particularly when utilizing open string drones and two- or three-finger chord voicings. The repeated G notes on the 5th and 2nd strings, combined with the Eb minor triad on the lower strings, make rich, resonant open voicings readily available. This tuning is likely to inspire compositions with a somber, weighty, or even ethereal atmosphere, depending on your playing style and articulation.

How to Tune 'Yvette's Lowered Harmony' from Standard EADGBe

To achieve 'Yvette's Lowered Harmony', begin with your guitar in standard EADGBe tuning and adjust each string as follows:

• String 6 (Low E): Tune down 1 semitone to D#.
• String 5 (A): Tune down 2 semitones to G.
• String 4 (D): Tune down 4 semitones to A#. Caution: Tuning down 4 semitones is a significant drop. For optimal tension and tone, and to prevent string floppiness, a heavier gauge string for this position is strongly advised.
• String 3 (G): Tune down 2 semitones to F.
• String 2 (B): Tune down 4 semitones to G. Caution: Tuning down 4 semitones is a significant drop. For optimal tension and tone, and to prevent string floppiness, a heavier gauge string for this position is strongly advised.
• String 1 (High E): Tune down 2 semitones to D.

String 6 (D3#): The lowest string, providing a deep, foundational tone. It acts as the root of the Eb minor chord when combined with the 5th and 4th strings.

String 5 (G2): Tuned down significantly, this string provides the minor third to the D# on string 6, contributing to the rich, minor-flavored open voicing. It also forms a drone G note with string 2.

String 4 (A3#): This string sounds a perfect fifth from the D# on string 6, completing the open Eb minor triad. Its substantial drop from standard D tuning makes it a candidate for a heavier gauge string.

String 3 (F3): The major second (or minor third from D#) relative to the 6th string's D#, adding an interesting, slightly dissonant and extended texture to the open chord, functioning as an add9.

String 2 (G3): An octave higher than the 5th string's G, creating a doubled root in the overall open tuning and offering opportunities for drone and harmonic textures.

String 1 (D4): The highest string, sounding an octave higher than the D# (Eb) on the 6th string, and acting as a major seventh in the overall Eb minor (maj7)add9 open chord.