This unique guitar tuning, officially named 4-5-3rds, is designed for a distinctive sonic landscape. It features an interesting combination of intervals across its six strings, departing significantly from standard EADGBe tuning.

Technical Analysis:

Starting from the lowest-pitched string (typically the 6th string on a guitar) to the highest (1st string), the notes are tuned to:

• 6th String: D♯3
• 5th String: G♯3 (A Perfect 4th up from the 6th string)
• 4th String: D♯4 (A Perfect 5th up from the 5th string)
• 3rd String: G3 (Significantly, this note is an Augmented 5th *lower* than the 4th string's D♯4, creating a distinct and notable pitch drop)
• 2nd String: B3 (A Major 3rd up from the 3rd string)
• 1st String: D♯5 (A Compound Major 3rd up from the 2nd string, spanning more than an octave)

This tuning presents an unusual and complex open string voicing. The open notes D♯3, G♯3, D♯4, G3, B3, D♯5 include both G natural and G sharp. This inherent dissonance in the open strings suggests a tuning aimed at specific, non-traditional chordal textures or melodic lines, rather than readily available consonant open chords. While the original description refers to "3 major thirds, 1 perfect fifth and 1 perfect fourth" (high to low), our analysis reveals a deviation in the S3-S4 interval where G3 is actually lower than D♯4, resulting in a descending Augmented 5th between these specific strings.

Verbal Analysis & Playability:

The presence of multiple D♯ notes (on strings 6, 4, and 1) and a G♯ (on string 5) provides a strong D♯ tonal center. However, the inclusion of G3 and B3 introduces an intriguing tension and harmonic color. This makes the open tuning itself sound rich and complex, possibly even 'crunchy' due to the simultaneous G and G♯.

While standard open chords may not immediately translate or sound conventional, this tuning offers unique opportunities for creative exploration:

• The consecutive Major Third intervals between the 3rd, 2nd, and 1st strings (G3-B3-D♯5) facilitate easy construction of triads and arpeggios by simply moving one finger across these strings. This pattern is excellent for 'stacked' harmonies and smooth chromatic runs, as highlighted in the tuning's original description.
• The Perfect 4th (S6-S5) and Perfect 5th (S5-S4) at the lower end provide familiar harmonic anchors, which can be useful for bass lines and creating powerful, resonant root movements.
• The significant pitch drop between the 4th (D♯4) and 3rd (G3) strings is a distinctive feature. This jump will require players to adapt their chord voicings and scale patterns, but it also opens up possibilities for wider interval jumps and unique inversions not typically found in standard tuning.
• Consider using this tuning for drone-based music, avant-garde compositions, or exploring modal harmonies where the specific interval relationships can be creatively exploited. The strong resonance of the open D♯ notes can serve as an excellent drone foundation.

How to Tune:

To achieve the 4-5-3rds tuning from standard EADGBe, carefully adjust each string as follows, from the lowest (6th) to the highest (1st) string:

• 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 up 1 semitone to D♯4.
• 3rd String (G): Keep as is; no change (0 semitones) to G3.
• 2nd String (B): Keep as is; no change (0 semitones) to B3.
• 1st String (High E): Tune down 1 semitone to D♯5.

Important Note: All string adjustments for this tuning are minor (within +/- 1 semitone) relative to standard tuning. Therefore, a change in string gauge is generally not required, and the tuning should be safe for most guitars. Always tune carefully and check intonation after adjustment.

This 4-5-3rds tuning invites experimentation and a fresh approach to the guitar, challenging conventional playing while offering rich and complex new sonic textures.

String 6: D♯3

String 5: G♯3

String 4: D♯4

String 3: G3

String 2: B3

String 1: D♯5