Verbal and Technical Analysis:

This tuning, aptly named "10 String One And a Half Steps Down," plunges into the extreme low end of the guitar's sonic spectrum, designed for an extended-range 10-string instrument. As its description suggests, it's essentially an E0 standard tuning, implying that the entire range is pulled down drastically to center around E0, an incredibly deep note. This creates a formidable foundation, offering immense sonic weight and resonance suitable for genres demanding a powerful, guttural presence. However, while the lower strings maintain a familiar standard relationship, the higher strings introduce unique, non-standard intervals and even re-entrancy, challenging conventional playing and opening up new harmonic possibilities.

Technically, the tuning initiates with an extremely low E0 on the 9th (thickest) string. The first six strings (9 through 4) are tuned in perfect fourths: E0-A0-D1-G1-C2-F2. This provides a consistent, albeit deeply pitched, bass and mid-range foundation, allowing for the transfer of many common power chord and scale shapes, although requiring significant adaptation to the register. The shift occurs dramatically between the 4th (F2) and 3rd (A3#) strings, where the interval becomes a major third (5 semitones). This is followed by another perfect fourth from A3# to D4# on the 2nd string. The most distinctive feature, however, is the re-entrant nature of the highest string: the 1st string (G3) is tuned a significant 8 semitones lower than the 2nd string (D4#). This means the 'highest' string in physical placement is not the highest in pitch, a characteristic that fundamentally alters chord voicings and arpeggio patterns.

Chordal Implications:

Due to the incredibly low pitch, open chords will possess a dense, rich, and often dissonant quality. The perfect fourths on the lower six strings facilitate familiar power chord shapes and root-fifth constructions, which will sound colossal. However, traditional open chords from standard tuning are largely impractical or significantly altered. The unique higher string intervals (F2 to A3# is a Major 3rd, then A3# to D4# is a P4) combined with the re-entrant G3 introduce novel sonic textures. An open cluster like A3#-D4#-G3 (strings 3-2-1) forms an interesting D#sus4-like sound (G-A#-D#). This re-entrancy allows for unique fingerstyle arrangements, droning effects, and unexpected harmonic interplay where the 'top' string can provide a lower harmony or bass note within an otherwise higher voiced chord.

How to Tune:

• String 9 (E0): Tune down 9 semitones. A significantly heavier gauge string is advised for proper tension and tone.
• String 8 (A0): Tune down 9 semitones. A significantly heavier gauge string is advised for proper tension and tone.
• String 7 (D1): Tune down 9 semitones. A significantly heavier gauge string is advised for proper tension and tone.
• String 6 (G1): Tune down 9 semitones. A significantly heavier gauge string is advised for proper tension and tone.
• String 5 (C2): Tune down 9 semitones. A significantly heavier gauge string is advised for proper tension and tone.
• String 4 (F2): Tune down 9 semitones. A significantly heavier gauge string is advised for proper tension and tone.
• String 3 (A3#): Tune down 9 semitones. A significantly heavier gauge string is advised for proper tension and tone.
• String 2 (D4#): Tune down 8 semitones. A significantly heavier gauge string is advised for proper tension and tone.
• String 1 (G3): Tune down 9 semitones. A significantly heavier gauge string is advised for proper tension and tone.

String 9: E0 (Extremely low E)

String 8: A0 (Lowest A, a perfect fourth above E0)

String 7: D1 (A very low D)

String 6: G1 (Low G)

String 5: C2 (Low C)

String 4: F2 (Low F)

String 3: A3# (A sharp, a major third above F2)

String 2: D4# (D sharp, a perfect fourth above A3#)

String 1: G3 (G, significantly lower than D4#, creating a re-entrant tuning)