This is an altered tuning for the Guitar, famously used by Chris Martin of Coldplay for their iconic song, "Yellow." As noted in the original description, this tuning facilitates unique open chords and voicings crucial to the song's character. Paul David's video is a great resource for learning how to play in this specific setup.

Technical Analysis: Chris Martin's Yellow Tuning

Starting from standard E-A-D-G-B-e tuning, this setup involves specific alterations, primarily to the 4th and 1st strings, creating a unique harmonic landscape:

• 6th String (Low E): Remains at E2.
• 5th String (A): Remains at A2.
• 4th String (D): Tuned down 3 semitones from its standard D3 position to B2. This introduces a strong low B, significantly altering the harmonic foundation and open chord possibilities.
• 3rd String (G): Remains at G3.
• 2nd String (B): Remains at B3.
• 1st String (High e): The provided tuning notes specify a target of D#5. It's important to note that tuning down 1 semitone from a standard high E string (E4) would result in D#4. Achieving D#5, which is an octave higher than D#4, would typically require a much lighter string gauge and/or a substantial tuning up from a standard E4, or adjusting from a different initial octave. For the purpose of analyzing the final harmonic structure, we will use the target note D#5 as stated in the tuning notes.

The open strings in this tuning are E2, A2, B2, G3, B3, D#5. Analyzing these notes with E as the root, we find the following intervals: E (root), A (perfect 4th), B (perfect 5th), G (minor 3rd), B (perfect 5th), D# (major 7th). This unique combination forms an E minor triad (E-G-B) with an added perfect 4th (A) and a prominent major 7th (D#). This creates a rich, somewhat melancholic, and ethereal sonic texture, making it ideal for the lush arpeggios and atmospheric drones characteristic of "Yellow." The repetition of the B note on the 4th and 2nd strings reinforces the dominant fifth, providing a strong harmonic anchor.

While not a traditional open major or minor tuning, the specific arrangement of notes makes certain chord shapes readily accessible and produces distinctive suspended-like qualities when strummed open or with minimal fretting, contributing to the song's signature sound.

How to Tune:

To achieve Chris Martin's Yellow Tuning from standard E-A-D-G-B-e guitar tuning, follow these specific instructions for each string, starting with the 6th (lowest) string:

• 6th String (Low E): Keep as is; no change (0 semitones). It remains at E2.
• 5th String (A): Keep as is; no change (0 semitones). It remains at A2.
• 4th String (D): Tune down 3 semitones from standard D3 to B2. (Tuning down 3 semitones is a moderate change; always tune down slowly and carefully).
• 3rd String (G): Keep as is; no change (0 semitones). It remains at G3.
• 2nd String (B): Keep as is; no change (0 semitones). It remains at B3.
• 1st String (High e): Tune down 1 semitone from standard E4 to D#4. (As noted in the technical analysis, while the final tuning notes specify D#5, this movement from a standard E4 string will result in D#4. To achieve D#5, which is an octave higher, would require a different approach or string setup, as it's not simply a 1-semitone drop from a typical high E string).

Important Tuning Note: For any string movements exceeding 4 semitones (either up or down), it is generally advised to consider using a different gauge string. This helps prevent undue tension or slack on the string and ensures optimal playability and string longevity. In this specific tuning, the individual string movements are within a safe range for standard string gauges, but if aiming for the higher D#5 on the first string as specified in the target notes, a lighter gauge string might be necessary for comfort and safety.

The final open string notes for Chris Martin's Yellow Tuning are:

• 6th String: E2
• 5th String: A2
• 4th String: B2
• 3rd String: G3
• 2nd String: B3
• 1st String: D#5