The E A C# F# B D# Open Tuning for guitar is a unique and melodically rich setup that deviates significantly from standard tuning, offering a distinctive harmonic palette. As described in its conception, "The idea is having two pairs of 4th, 4th, 3rd." This means the tuning is intentionally structured to create specific intervallic relationships that facilitate interesting chord voicings and melodic possibilities.

Technical Analysis

From the lowest E string (6th string) to the highest D# string (1st string), the intervals are as follows:

• E (6th string) to A (5th string): Perfect 4th
• A (5th string) to C# (4th string): Major 3rd
• C# (4th string) to F# (3rd string): Perfect 4th
• F# (3rd string) to B (2nd string): Perfect 4th
• B (2nd string) to D# (1st string): Major 3rd

This configuration creates two distinct tonal groupings: an A Major triad (A C# E) across the 6th, 5th, and 4th strings (E-A-C#), and a B Major triad (B D# F#) across the 3rd, 2nd, and 1st strings (F#-B-D#). Played together, the open strings produce a complex and vibrant B major 7 sharp 11 chord (B D# F# A C# E), offering a bright, Lydian-esque quality. The unique grouping of intervals makes this tuning highly resonant and harmonically rich, deviating from simpler open major or minor tunings.

Verbal and Musical Implications

The open strings themselves do not form a simple major or minor chord, but rather a rich, extended harmony that lends itself to sophisticated sounds. The clear presence of A Major and B Major triads within the tuning makes these chords incredibly accessible, allowing for full, ringing voicings with minimal effort. This tuning is ideal for exploring harmonically rich textures, open voicings, and drone-based music where the resonant qualities of these chords can shine. It could be particularly inspiring for fingerstyle players or those looking to create ambient soundscapes, as well as for composers seeking unique chord voicings for modern or fusion genres.

While standard chord shapes will need to be re-learned, the distinct intervallic patterns encourage the discovery of new shapes and inversions. Barring across the neck, for instance, could yield interesting parallel harmonies based on the A Major and B Major structures. The tuning’s inherent brightness and tension make it suitable for expressive melodic lines that can contrast or complement the underlying open harmonies.

How to Tune

To achieve the E A C# F# B D# tuning from standard E A D G B E, follow these steps. Please note the semitone movements for each string:

• 6th String (Low E): Keep as is; no change (0 semitones).
• 5th String (A): Keep as is; no change (0 semitones).
• 4th String (D): Tune down 1 semitone to C#.
• 3rd String (G): Tune down 1 semitone to F#.
• 2nd String (B): Keep as is; no change (0 semitones).
• 1st String (High E): Tune down 1 semitone to D#.

All string movements are minor adjustments (within 1 semitone), so a change in string gauge is generally not required, and the guitar's neck tension should remain stable.

6th String: Tuned to E2 (Low E).

5th String: Tuned to A2.

4th String: Tuned to C#4. This is one semitone below standard D.

3rd String: Tuned to F#4. This is one semitone below standard G.

2nd String: Tuned to B3.

1st String: Tuned to D#5. This is one semitone below standard High E.