This unique tuning, known as "Rootless Triplets", redefines the sonic landscape of your guitar. As described, it's primarily a half-step down tuning, but with a distinctive twist: the 4th string is dropped an additional whole step, creating a profound and resonant low B note. This setup is designed to unlock a world of rich, complex harmonies, where common bar chord shapes or open voicings can surprisingly yield multiple rootless chords simultaneously, often forming intricate triads.

Verbal Analysis

The overall feel of this tuning is deep and resonant, bordering on ethereal due to the lowered pitch of most strings and the exceptionally low 4th string. The name "Rootless Triplets" hints at its innovative approach to harmony. Instead of traditional open chord shapes, you'll find that simply barring across strings or using familiar finger positions will generate unexpected clusters of notes that form complete chords, often without their foundational root in the bass. This encourages a more melodic and textural playing style, perfect for creating lush soundscapes, intricate arpeggios, or experimental compositions. The deep B on the 4th string, positioned between G# and F#, creates interesting tension and release points, allowing for rich harmonic movement. It's particularly well-suited for genres that benefit from extended chords and a spacious sound, such as jazz fusion, ambient music, or progressive rock.

Technical Analysis

The open strings are tuned to D#3, G#3, B2, F#4, A#4, D#5. This is effectively a D# standard tuning (all strings down a half step from E standard) with the 4th string further lowered from C# to B. Let's break down the harmonic possibilities:

• The strings 6, 3, 2, 1 (D#3, F#4, A#4, D#5) clearly outline a D# minor triad, giving a strong minor flavor to the open tuning.
• Interestingly, the lowest three strings (6th, 5th, 4th) — D#3, G#3, B2 — when reordered, form G# minor in first inversion (G# B D#), providing an immediate open minor chord beyond the obvious D# minor.
• The unique low B2 on the 4th string creates wide intervals. The interval between the 5th string (G#3) and the 4th string (B2) is a descending augmented 6th (or an ascending major 6th if viewed from B2 to G#3, i.e. 8 semitones). This wide gap allows for intriguing open voicings and the "rootless triplet" effect mentioned in the tuning description.
• Consider the top three strings (3rd, 2nd, 1st) — F#4, A#4, D#5. This combination effectively forms a D# minor triad in second inversion (A# D# F#).
• The core concept of "Rootless Triplets" becomes apparent when you consider barring. For instance, a single fret bar across the neck will produce different harmonic clusters than in standard tuning. The intervals between strings like G#3-B2 (8 semitones), B2-F#4 (19 semitones), F#4-A#4 (4 semitones), and A#4-D#5 (5 semitones) will allow for unusual and rich chord voicings with minimal fingering. Many common chord shapes will take on new, often rootless, interpretations, inviting exploration and experimentation. The description's mention of "Harmonics to the maximum" suggests that the open string relationships are particularly conducive to ringing out sympathetic harmonics, adding to the lushness of the sound.

Tuning Notes

• 6th String (Low E Standard Position): D#3
• 5th String (A Standard Position): G#3
• 4th String (D Standard Position): B2
• 3rd String (G Standard Position): F#4
• 2nd String (B Standard Position): A#4
• 1st String (High E Standard Position): D#5

How to Tune

To achieve the 'Rootless Triplets' tuning, follow these precise string adjustments from standard EADGBe tuning:

• 6th String (Low E): Tune down 1 semitone to D#3.
• 5th String (A): Tune down 1 semitone to G#3.
• 4th String (D): Tune down 3 semitones to B2.
• 3rd String (G): Tune down 1 semitone to F#4.
• 2nd String (B): Tune down 1 semitone to A#4.
• 1st String (High E): Tune down 1 semitone to D#5.

Note: All string movements are within recommended limits for standard string gauges. Always tune carefully and in small increments.