The 'Message to Bears Alternate' tuning, originally named EAD#GCE by its creator, is a unique arrangement designed for playing "Find Our Way Home" by Message To Bears. This specific tuning diverges from standard guitar tuning in a few critical ways, primarily affecting the fourth and second strings. It's an excellent example of how musicians craft custom tunings to achieve specific sonic textures and melodic possibilities not readily available in conventional tunings.

Technical Analysis:

Compared to standard E-A-D-G-B-E tuning, this arrangement presents the following open notes:

• String 6 (Low E): E2 (Standard)
• String 5 (A): A2 (Standard)
• String 4 (D): D4# (Significantly altered from standard D3)
• String 3 (G): G3 (Standard)
• String 2 (B): C4 (Raised from standard B3)
• String 1 (High E): E4 (Standard)

The most striking alteration is on the 4th string, specified as D4#. If this refers to the absolute pitch D4# (an octave and a semitone above standard D3), it is an exceptionally high tension for a typical guitar string and would likely require a much lighter gauge string or risk breakage. Assuming a standard D3 string, tuning up 1 semitone as indicated in the 'How to Tune' section would result in D#3, not D4#. This disparity suggests a potential typo in the target note or a requirement for a specialized string setup. The second string is tuned up by a semitone from B3 to C4, a common adjustment in many open tunings to introduce new melodic intervals.

Harmonic and Chordal Implications:

The open string configuration of E-A-D#-G-C-E creates a rich, somewhat dissonant, and evocative soundscape. Without fretting, the notes E, A, D#, G, C, E are present. If we consider E as a root, this collection includes a perfect fourth (A), a minor third (G), a minor sixth (C), and a major seventh (D#). The presence of both G and D# means it doesn't immediately lend itself to conventional major or minor triads. Instead, it suggests extended harmonies and sus-like voicings. For example, the low E, A, and G strings provide a strong E minor feel (E-G-B being replaced by E-A-G), while the D# and C add colour and tension. The close proximity of G, C, and E (a G major triad inversion) across strings 3, 2, and 1, combined with the low E and A, opens up possibilities for suspended chords and unique arpeggiated patterns. This tuning is likely designed to emphasize specific melodic lines or resonant open string drones tailored to the creator's composition, rather than straightforward strumming of common chords.