Verbal Analysis: The Slavic Zither on Guitar

This tuning, aptly named "Gusli," is a bold and imaginative adaptation of a traditional Slavic zither's sound palette for the guitar. It features an extensive 9-string configuration, pushing the boundaries of a typical guitar, particularly with its extraordinarily low bass notes of E1 and A1. The overall sonic character is deeply resonant and modal, evoking the rich tapestry of folk melodies and ancient soundscapes.

When played open, the strings present a dense and unique harmonic cluster, not immediately conforming to standard Western chords. However, this inherent quality makes the tuning exceptional for creating expansive drones, arpeggiated melodic lines, and intricate fingerstyle passages. It's ideal for musicians exploring experimental sounds, traditional folk interpretations, or cinematic textures that require a wide, resonant harmonic base combined with articulate melodic possibilities.

Open Chords and Harmonic Possibilities:

• The sequence of open notes (E, A, B, C, D, E, F, G, A) hints at an E Phrygian or C Lydian mode, offering a distinctive melancholic, ethereal, or exotic flavour.
• While conventional strummed chords may not be the primary focus, the tuning readily facilitates powerful open fifths and unique voicings. For instance, a robust E5 chord can be constructed using E1, B1, and E3.
• Accessible minor triads include A minor (A1, C2, E3) and D minor (D2, F3, A3). Major triads like C major (C2, E3, G3) are also present, allowing for unexpected harmonic shifts.
• The lowest strings, E1 and A1, are perfect for sustained drones, providing a stable harmonic backdrop over which intricate melodic patterns can be woven on the higher strings.
• The close intervals, particularly B1-C2-D2 and E3-F3-G3-A3, encourage fluid melodic runs and fingerstyle arpeggios that highlight the tuning's unique modal qualities.

Technical Analysis: A 9-String Canvas

This Gusli tuning re-imagines the guitar as a 9-string instrument with an extraordinarily broad sonic range, stretching from a very deep E1 (approximately 41.2 Hz) to a bright A3 (220 Hz). This vast register demands either a purpose-built 9-string guitar or significant modifications and the use of very specific heavy-gauge strings for a standard instrument to cope with the tension and maintain intonation.

• String Configuration: The notes ascend from the lowest string (String 9) to the highest (String 1) as E1-A1-B1-C2-D2-E3-F3-G3-A3.
• Intervals: The irregular intervals between the open strings are key to this tuning's distinctive character:
  • String 9 (E1) to String 8 (A1): Perfect 4th (up 5 semitones)
  • String 8 (A1) to String 7 (B1): Major 2nd (up 2 semitones)
  • String 7 (B1) to String 6 (C2): Minor 2nd (up 1 semitone)
  • String 6 (C2) to String 5 (D2): Major 2nd (up 2 semitones)
  • String 5 (D2) to String 4 (E3): Perfect 5th (up 7 semitones) - a substantial jump, creating a clear break in register!
  • String 4 (E3) to String 3 (F3): Minor 2nd (up 1 semitone)
  • String 3 (F3) to String 2 (G3): Major 2nd (up 2 semitones)
  • String 2 (G3) to String 1 (A3): Major 2nd (up 2 semitones)
• Implications: The frequent minor and major 2nd intervals (e.g., B1-C2-D2 and E3-F3-G3-A3) underscore the tuning's suitability for melodic and scalar playing. The large Perfect 5th jump between D2 and E3 allows for distinct arrangement possibilities, separating bass and melodic voices effectively.

How to Tune Your Guitar to Gusli:

Achieving this 9-string Gusli tuning requires careful attention to string gauges due to the significant pitch shifts. Standard guitar strings are generally unsuitable for such extreme tension changes, which can lead to breakage, poor intonation, or muddy tone. We highly recommend using a multi-scale or extended-range guitar designed for higher string counts and consulting with a professional luthier for optimal string gauge selection and setup.

• String 9 (E1): Tune up 3 semitones. (Note: Tuning up 3 semitones for a very low string might require a specific heavy gauge to avoid breakage.)
• String 8 (A1): Tune up 3 semitones. (Caution: Tuning up 3 semitones on this string also suggests using a heavier gauge than typical for a comparable string.)
• String 7 (B1): Keep as is; no change (0 semitones).
• String 6 (C2): Tune down 4 semitones. (Warning: Tuning down 4 semitones is a significant drop; a heavier gauge string is advised for optimal tension and tone.)
• String 5 (D2): Tune down 7 semitones. (Extreme Caution: Tuning down 7 semitones, a full Perfect 5th, will result in extremely slack tension on a standard string. A much heavier gauge string is strongly advised to achieve playability and proper intonation.)
• String 4 (E3): Tune up 2 semitones.
• String 3 (F3): Tune down 2 semitones.
• String 2 (G3): Tune down 4 semitones. (Warning: Tuning down 4 semitones is a significant drop; a heavier gauge string is advised for optimal tension and tone.)
• String 1 (A3): Tune down 7 semitones. (Extreme Caution: Tuning down 7 semitones, a full Perfect 5th, will result in extremely slack tension on a standard string. A much heavier gauge string is strongly advised to achieve playability and proper intonation.)

String 9: E1 - The lowest string, establishing a very deep, guttural bass foundation, providing substantial low-end resonance.

String 8: A1 - A powerful second bass string, forming a perfect fourth with E1, which enhances the drone capabilities and gives a strong, open bass interval.

String 7: B1 - Introduces a major second interval from A1, adding early harmonic complexity and a clear, resonant low-mid voice.

String 6: C2 - A minor second above B1, creating a close, often melancholic or modal tension that is characteristic of folk music, within the low-mid range.

String 5: D2 - A major second from C2, continuing the stepwise motion in the lower mid-range, offering another strong melodic and harmonic anchor.

String 4: E3 - A significant jump (perfect fifth) from D2, marking the beginning of the higher octave. This provides a clear, bright open E note, useful for melodic phrasing and as a higher drone point.

String 3: F3 - A minor second above E3, introducing a distinct chromatic or modal flavour to the higher register, ideal for expressive bends and leading tones.

String 2: G3 - A major second from F3, completing a natural minor scale segment with E3 and F3, offering a versatile note for both melodic and harmonic contexts.

String 1: A3 - The highest string, a major second from G3, providing a bright and clear top note that resonates harmonically with the lower A1, creating an octave chime effect.