Verbal Analysis: A Tuning of Sharp Contrasts

This guitar tuning, which we've named "A# Second String Variant," presents a fascinating departure from standard EADGBe tuning. While the lower four strings maintain their familiar EADG configuration, providing a solid and conventional bass foundation, the upper two strings introduce a distinct and somewhat experimental character. The most striking alteration is the 2nd string, tuned to A#4, creating a unique harmonic tension, particularly in relation to the open E string above it. The highest E string remains standard, allowing for familiar melody lines or harmonizing.

The immediate impression upon strumming this tuning open might be one of interesting dissonance rather than a conventional chord. The interval between the 3rd string (G3) and the 2nd string (A#4) is a minor third, offering a bluesy or darker feel. However, the true tension point lies between the 2nd string (A#4) and the 1st string (E4), which forms an augmented fourth (tritone). This interval is inherently dissonant and often used in blues, jazz, and classical music to create suspense, urgency, or a feeling of unresolved harmony. This tuning is likely designed for specific melodic or harmonic purposes, perhaps to highlight particular voicings, fingerpicking patterns, or lead lines that leverage the A# prominently. It may not lend itself to easy open chord shapes but could unlock new creative avenues for adventurous players.

Technical Analysis: Unpacking the Intervals

The tuning notes are E2 A2 D3 G3 A#4 E4. Let's break down the intervals relative to standard EADGBE (E2 A2 D3 G3 B3 E4):

• 6th String (E2): Standard.
• 5th String (A2): Standard. Perfect Fourth above E2.
• 4th String (D3): Standard. Perfect Fourth above A2.
• 3rd String (G3): Standard. Perfect Fourth above D3.
• 2nd String (A#4): Significantly altered from standard B3. This note is a minor third (3 semitones) above the 3rd string G3, instead of the major third (4 semitones) found in standard tuning. The shift from B3 to A#4 is particularly noteworthy.
• 1st String (E4): Standard. However, the interval between the 2nd string (A#4) and the 1st string (E4) is an Augmented Fourth (tritone), which is a stark contrast to the Perfect Fourth found in standard tuning (B3 to E4). This tritone creates the primary source of tension in the open tuning.

This tuning features a largely conventional lower register, making it familiar for bass lines and rhythm, but introduces a highly unconventional upper register with the A#4.

Potential Chords and Musical Applications

An open strum of E-A-D-G-A#-E does not resolve into a common major or minor triad, primarily due to the A#4. This implies the tuning is likely not designed for easy, conventional open chords. Instead, it might be used to:

• Create Drones: The low E, A, D, G could serve as a bass foundation, while the A# acts as a high, sustained drone or melodic pivot.
• Jazz/Blues Extensions: The A# (enharmonically Bb) can function as a b5 or #11 in various chord voicings, such as E7b5, A7#11, or even C diminished 7th shapes. For an E root, A# acts as a #4 or b5.
• Arpeggios and Melodies: The unique intervals could inspire novel melodic phrases and arpeggio patterns not easily achieved in standard tuning. The tritone (A#-E) is a powerful interval for creating tension and release.
• Avant-Garde/Experimental Music: The inherent dissonance makes it suitable for genres that explore more abstract or challenging harmonic landscapes.

Players might find new chord shapes by barring across the EADG strings and then selectively fretting the A# and high E strings to resolve or emphasize the A# in relation to the chord. For example, a partial G major chord (G D G) could be played on strings 4-2, with the A# on string 2 creating a Gmaj7#11 sound if played carefully.

How to Tune Your Guitar

To achieve the "A# Second String Variant" tuning, carefully adjust each string according to the instructions below. Remember to always tune strings *up* to a note carefully to avoid snapping, or *down* to a note and then back up to pitch for stability.

• 6th String (E2): Keep as is; no change (0 semitones). Your lowest string remains E2.
• 5th String (A2): Keep as is; no change (0 semitones). Your A string remains A2.
• 4th String (D3): Keep as is; no change (0 semitones). Your D string remains D3.
• 3rd String (G3): Keep as is; no change (0 semitones). Your G string remains G3.
• 2nd String (A#4): Tune down 1 semitone. Aim for the note A#4. This is a minor adjustment, but vital for the tuning's unique character.
• 1st String (E4): Keep as is; no change (0 semitones). Your highest string remains E4.

String 6 (Low E): Tuned to E2. This is the same as standard E tuning.

String 5 (A): Tuned to A2. This is the same as standard E tuning.

String 4 (D): Tuned to D3. This is the same as standard E tuning.

String 3 (G): Tuned to G3. This is the same as standard E tuning.

String 2 (B/A#): Tuned to A#4. In standard tuning, this string is B3, making this a significant change and an octave higher than one might expect from a simple "down 1 semitone" from B3. This note forms a unique interval relationship with the surrounding strings.

String 1 (High E): Tuned to E4. This is the same as standard E tuning.