This is a unique High D# Lute tuning, deviating from typical historical lute tunings and offering a blend of familiarity and distinct harmonic character. The provided notes are E2, A2, D3, G3, B3, and D4# from the lowest to the highest string.

Verbal Analysis

For players accustomed to modern guitar tunings, the lower five strings (E-A-D-G-B) will feel immediately familiar, as they mirror the bottom five of a standard guitar. This provides a solid foundation for many common chord shapes and scales in the bass and mid-range. However, the highest string, tuned to D#4, introduces a compelling twist. This subtle yet significant alteration can imbue open chords and melodic lines with a melancholic, ethereal, or even slightly dissonant quality, depending on the context. It encourages players to explore new voicings and textures, moving beyond conventional guitar or lute repertoire. This tuning is particularly well-suited for creating rich, suspended harmonies and is ideal for pieces that benefit from a unique, shimmering top voice.

Technical Analysis

• Instrument Type: Lute
• Target Notes: E2, A2, D3, G3, B3, D4#
• The tuning's structure (E-A-D-G-B) is identical to the first five courses of standard guitar tuning.
• The highest string is tuned a semitone lower than the standard E4, to D#4.
• Considering E as the tonic, the open strings contain the notes E, A, D, G, B, D#. This collection includes the root, minor third (G), perfect fourth (A), perfect fifth (B), minor seventh (D), and major seventh (D#).
• Without specific fretting, the open strings do not form a simple major or minor triad. However, the notes E, G, B, D# form an E minor-major 7th chord (EmM7), a chord known for its dark and sophisticated sound. The presence of A and D complicates simple open chord voicings but opens up possibilities for complex, jazz-like or modal harmonies.

Reachable Chords & Implications

• EmM7 Voicings: The open strings naturally lean towards EmM7 voicings (E-G-B-D#), especially if the A and D strings are muted or used as passing tones. Playing an open E minor chord shape (e.g., standard guitar 022000) will result in an EmM7 with an added B, creating a rich, melancholic texture.
• Adapting Standard Chords: Many standard guitar chord shapes on the lower five strings (EADGB) can still be used effectively. For instance, open A minor (x02210 on guitar) will now have a D# on the highest string, potentially creating a dissonant or unresolved sound (A-E-A-C-E-D#) that can be utilized for dramatic effect or specific modal compositions. Players will need to consciously decide whether to include or mute the high D# string when playing familiar shapes.
• Modal Exploration: The unique interval of a major seventh (D#) above the root (E) alongside a minor seventh (D) from the D string, suggests possibilities for modal playing, particularly in Phrygian dominant or harmonic minor contexts where these intervals are prominent.
• Arpeggios and Melodies: This tuning excels for arpeggiated figures and melodic lines, where the D#4 can be highlighted as a leading tone or an expressive upper extension. The close proximity of B3 and D#4 (a minor third) offers pleasing small intervals for melodic development.

Open String Notes

• 6th String (Lowest): E2
• 5th String: A2
• 4th String: D3
• 3rd String: G3
• 2nd String: B3
• 1st String (Highest): D4#

How to Tune

When preparing your Lute for the High D# Lute tuning, please follow these instructions carefully. Pay close attention to the semitone adjustments, especially for significant changes, as these can affect string tension and potentially require different string gauges.

• 6th String (E2): Keep as is; no change (0 semitones).
• 5th String (A2): Keep as is; no change (0 semitones).
• 4th String (D3): Keep as is; no change (0 semitones).
• 3rd String (G3): Keep as is; no change (0 semitones).
• 2nd String (B3): Keep as is; no change (0 semitones).
• 1st String (D4#): Tune down 13 semitones. Caution: Tuning down 13 semitones is a very significant change (more than an octave). While the target note D4# is clear, such a large drop from a presumed standard starting point (e.g., E5 to D#4) would drastically reduce string tension. For optimal playability and intonation, and to avoid excessively slack strings, a different string gauge for the 1st string is strongly advised.