The "Sophie Leetmaa" tuning is a truly unique and exploratory re-entrant tuning for the guitar, designed to push the boundaries of conventional playability and sonic texture. It presents a fascinating challenge and offers a distinctive harmonic palette, particularly resonant for music in the key of A Major or D Major.

Verbal Analysis

This tuning immediately stands out due to its re-entrant nature: the first (thinnest) string is tuned significantly lower than the second and third strings. This creates a sonic landscape where traditional ascending scales or chord shapes will feel inverted and require a fresh approach. The overall sound, when strummed open, is bright and harmonious, with a complex layering of notes that defy a simple linear pitch progression. It feels open and ringing, almost like an open-string harp, inviting melodic patterns that weave between high and low strings in unexpected ways. The designer notes indicate that the first string (tuned to B3) might feel very slack, suggesting a preference for a lighter touch or a heavier gauge string for optimal performance.

Technical Analysis

The tuning notes from the 6th (lowest) string to the 1st (highest) string are: E2, A2, D3, F#4, C#5, B3. Let's break down the intervals and harmonic implications:

• Strings 6-4 (E2-A2-D3): These retain the familiar perfect fourth intervals (P4, P4) of standard tuning, providing a stable, foundational bass.
• String 4 to 3 (D3 to F#4): This is a compound Major Third (M3 + Octave), a large jump in pitch that gives the third string a bright, almost mandolin-like chime.
• String 3 to 2 (F#4 to C#5): A perfect fifth (P5) interval, creating a strong, resonant harmonic pairing between these two higher strings.
• String 2 to 1 (C#5 to B3): This is the defining re-entrant interval. The first string (B3) is a Major 9th *lower* than the second string (C#5). This dramatic drop in pitch means the highest-numbered string is not the highest in pitch, fundamentally altering chord voicings and melodic possibilities.

Open Chords and Harmonic Potential

The collection of open string notes (E, A, D, F#, C#, B) closely aligns with the notes of an A Major scale (A, B, C#, D, E, F#, G#), with the G# being the only missing scale tone. This makes the tuning naturally predisposed to playing in A Major or its relative minor, F# minor. It also strongly features notes from a D Major scale (D, E, F#, G, A, B, C#), missing only the G, which means D Major tonalities are also highly accessible.

• A Major: An open A Major triad (A, C#, E) can be easily formed using the 5th (A2), 2nd (C#5), and 6th (E2) strings. The additional B3, D3, and F#4 notes create rich, extended voicings over an A bass.
• D Major: An open D Major triad (D, F#, A) is beautifully present across the 4th (D3), 3rd (F#4), and 5th (A2) strings.

The re-entrant nature means that while familiar open chords can be found, new fingerings for bar chords and scales will emerge. This tuning invites a creative exploration of arpeggios that might ascend the neck while descending in pitch on adjacent strings, and provides unique drone opportunities with the high and low string combinations.

Tuning Notes

• String 6 (Low E): E2
• String 5 (A): A2
• String 4 (D): D3
• String 3 (G): F#4 (Note: This string is an octave higher than the F#3 typically resulting from a 1 semitone drop from standard G3.)
• String 2 (B): C#5 (Note: This string is an octave higher than the C#4 typically resulting from a 2 semitone rise from standard B3.)
• String 1 (High E): B3 (Note: This string is tuned lower than String 2 and String 3, creating a re-entrant effect. It is also significantly lower than a standard E4, for which it replaces.)

How to Tune

To achieve the 'Sophie Leetmaa' tuning, adjust your strings as follows:

• String 6 (E2): Keep as is; no change (0 semitones) to target E2.
• String 5 (A2): Keep as is; no change (0 semitones) to target A2.
• String 4 (D3): Keep as is; no change (0 semitones) to target D3.
• String 3 (F#4): Tune down 1 semitone to target F#4.
• String 2 (C#5): Tune up 2 semitones to target C#5.
• String 1 (B3): Tune down 5 semitones to target B3. Caution: Tuning down 5 semitones from a standard high E string is a significant change. A higher gauge string is strongly advised for the 1st string to maintain appropriate tension and playability.