Verbal Analysis

This Asus4/7 tuning offers a rich, open sound, particularly suited for genres like folk, acoustic rock, and experimental music. The suspended 4th interval creates a sense of openness and often yearns for resolution, providing a unique harmonic texture. When strummed open, it evokes a full, resonant chord with a distinct character. The presence of an E bass note combined with the A-D-G-A-E structure means it can function well for drone-like playing or for building complex voicings. It encourages exploration beyond standard chord shapes, offering new melodic and harmonic possibilities with minimal finger movement. This tuning's inherent 'sus' quality makes it excellent for creating ambient soundscapes or for adding a contemplative feel to compositions.

Technical Analysis

This is a six-string guitar tuning with the notes E2-A2-D3-G3-A3-E4, from the lowest (6th) to the highest (1st) string. The first four strings (E-A-D-G) maintain the standard perfect fourth intervals, providing a familiar foundation reminiscent of standard tuning's lower strings. The significant deviation occurs on the 2nd string, which is tuned to A3, a whole step (major second) above the 3rd string's G3. The 1st string is then tuned to E4, a perfect fifth above the 2nd string's A3.

When all open strings are played, the resultant notes (E, A, D, G, A, E) form an interesting voicing. If we consider the 5th string (A) as the root, the open strings (A, D, G, A, E) clearly outline an A suspended 4th, 7th chord (A-D-E-G), with the high A and E enhancing the top end. The low E (6th string) acts as a strong pedal tone or a foundation, providing depth and an option for an E minor 7 suspended 4th interpretation (E-A-G-D with additional A and E).

Chords and Playability

The open tuning itself presents a compelling voicing of an Asus4/7, rooted on the 5th string, with a foundational E bass on the 6th string. This makes it an ideal tuning for open strumming where that particular harmonic quality is desired. Due to the perfect fourths on the lower strings, familiar riffing patterns can still be adapted. The unique G-A-E interval on the top three strings opens up new possibilities for melodic lines and chord voicings that might be challenging in standard tuning. For instance, a simple open C shape on the 5th, 4th, and 3rd strings (A, D, G) would create a Dsus4 chord if barred at the 2nd fret, or an Esus4 at the 4th fret. Barring across the top five strings (excluding the 6th E) at various frets will yield different suspended 7th chords. The uniformity of the lower strings also allows for easy power chords and partial chords, while the higher strings provide color. Players accustomed to Drop D or similar tunings might find the lower string arrangement intuitive, while the upper strings invite creative exploration for open, ringing chords and arpeggios.

How to Tune

• 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): Keep as is; no change (0 semitones).
• String 2 (B): Tune down 2 semitones to A3. This is a safe adjustment for standard gauge strings.
• String 1 (High E): Keep as is; no change (0 semitones).

String 6: E2 (Low E)

String 5: A2

String 4: D3

String 3: G3

String 2: A3

String 1: E4 (High E)