Verbal Analysis: The "Flawed Mangoes" Sound

The tuning, playfully named "Flawed mangoes the beginning, i found it" by its creator, is anything but flawed in its sonic character. This is a truly unique and expansive tuning that immediately grabs attention with its wide intervals and surprising harmonies. The most striking features are the open octave on the A string (A2 on the 5th string and A3 on the 3rd string) and the extraordinarily high F#5 on the 1st string. This creates a bright, almost crystalline top end, contrasting with the standard low E, A, D.

The overall feel leans towards a resonant, open sound, especially with the repeated A notes providing a strong drone. It suggests a sonic landscape suitable for intricate fingerstyle, arpeggiated melodies, or ambient soundscapes where clarity and sustain are prized. The large jump from B3 to F#5 on the highest strings offers a very wide chord voicing capability, allowing for sparkling high notes over richer lower harmonies. It encourages exploration outside of conventional chord shapes, leading to fresh and inspiring musical ideas.

Open Chords and Resonances:

• The open strings E, A, D, A, B, F# collectively form a rich, complex harmony. If we consider E as a root, these notes (E, F#, A, B, D) imply an E minor 9 suspended 4th (Em9sus4) or an E minor 11 (Em11) chord without the G, offering a sophisticated and open sound.
• The pairing of A2 and A3 creates a strong, resonant open A octave, making it a powerful drone note and foundation for chords. Strumming the 5th and 3rd strings together will yield a full, ringing A.
• The intervals of Perfect Fourths (E-A, A-D) followed by a Perfect Fifth (D-A) in the lower-mid range provide a familiar, solid foundation, while the upper strings break away into wider, more open voicings.
• Due to the presence of D, A, and F#, chords in the key of D major or B minor will be particularly resonant and easy to voice. For instance, an open D major chord could be easily constructed, leveraging the D3 and A3, and the bright F#5.
• The highest two strings, B3 and F#5, form a perfect fifth across a large interval, making two-note harmony or arpeggiation sparkle.

Technical Analysis: Unpacking the Intervals

This tuning deviates significantly from standard tuning (E A D G B E) on the 3rd and 1st strings, leading to a unique set of intervals:

• String 6 (E2) to String 5 (A2): Perfect Fourth (+5 semitones) - Standard.
• String 5 (A2) to String 4 (D3): Perfect Fourth (+5 semitones) - Standard.
• String 4 (D3) to String 3 (A3): Perfect Fifth (+7 semitones) - A notable change from the standard Perfect Fourth (D to G). This creates the open A octave with the 5th string.
• String 3 (A3) to String 2 (B3): Major Second (+2 semitones) - A tighter interval, creating a distinct cluster.
• String 2 (B3) to String 1 (F#5): Compound Perfect Fifth (+19 semitones) - This is a massive leap, almost two octaves, creating a very wide and bright voicing on the highest strings. This interval consists of a perfect fifth (B3 to F#4) plus an octave (F#4 to F#5).

How to Tune:

To achieve the "E A D A B F#" tuning, adjust your guitar strings as follows:

• String 6 (Low E): Keep as is; no change (0 semitones).
• String 5 (A): Keep as is; no change (0 semitones).
• String 4 (D): Keep as is; no change (0 semitones).
• String 3 (G): Tune up 2 semitones to A3.
• String 2 (B): Keep as is; no change (0 semitones).
• String 1 (High E): Tune up 2 semitones to F#5.

Please note that tuning up 2 semitones for the 3rd and 1st strings is generally safe for most standard guitar string gauges, but always proceed with caution and ensure your guitar's neck can handle the slight increase in tension.