Verbal Analysis:

The 'perfect ascension test' tuning for Guitar presents a highly unique and somewhat perplexing sonic landscape. While the tuning's description mentions it is 'designed for guitar with 5 strings (5th removed)' and that '1st 4 make up one octave exactly ascending perfectly', the provided notes include a full six-string setup (E2 A2 E3 F#4 A#4 E4). The claim of '1st 4 making up one octave exactly ascending perfectly' does not readily align with any consecutive four-string sequence in the final tuning, suggesting either a conceptual origin or an interpretation that extends beyond simple intervallic relationships.

Sonically, this tuning is quite experimental. The open strings offer a dissonant, complex sound rather than a simple major or minor chord. The lowest three strings (E2, A2, E3) lay down a foundation of a perfect fourth followed by a perfect fifth, which can provide a strong, open power-chord-like texture, especially for rhythm playing. However, the higher strings introduce significant tension: the jump from E3 to F#4 (a compound Major 2nd, 14 semitones) and the tritone between A#4 and E4 create a rich, almost atonal quality. This tuning would likely appeal to players exploring avant-garde music, jazz fusion, or genres that embrace unusual harmonic structures. Simple open major/minor chords are not readily available, encouraging exploration of single notes, arpeggios, or specific two- and three-note voicings that leverage the unique intervals.

Technical Analysis:

This is a six-string Guitar tuning with the following open notes:

• String 6 (Low E): E2
• String 5 (A): A2
• String 4 (D): E3
• String 3 (G): F#4
• String 2 (B): A#4
• String 1 (High E): E4

The intervallic structure from lowest to highest string is as follows:

• E2 to A2: Perfect 4th (P4)
• A2 to E3: Perfect 5th (P5)
• E3 to F#4: Compound Major 2nd (M2 + octave, 14 semitones)
• F#4 to A#4: Minor 3rd (m3)
• A#4 to E4: Diminished 5th (d5, tritone)

A significant observation is the octave shift indicated for strings 3 and 2. While the 'How to Tune' instructions (derived from 'string_movements') suggest tuning String 3 down 1 semitone from its standard G3 (resulting in F#3) and String 2 down 1 semitone from its standard B3 (resulting in A#3), the target notes provided in the 'tuning_notes' are F#4 and A#4 respectively. This implies that to reach these specific target notes with a standard set of strings, these strings would need to be re-strung with significantly higher gauge strings to withstand the tension required for an octave jump, or the player is expected to tune them up an entire octave from the pitch implied by the direct semitone shift from standard. This discrepancy suggests a highly specialized setup or an interpretation where the 'semitone movement' refers to a micro-adjustment within an already assumed higher octave for those strings.

How to Tune:

To achieve the 'perfect ascension test' tuning, start from a standard E-A-D-G-B-E tuning for a 6-string guitar:

• String 6 (Low E): Keep as is; no change (0 semitones). Stays at E2.
• String 5 (A): Keep as is; no change (0 semitones). Stays at A2.
• String 4 (D): Tune up 2 semitones from D3 to reach E3. This is a moderate adjustment and should be fine with standard string gauges.
• String 3 (G): Tune down 1 semitone from G3. This specific movement results in F#3. However, the target note for this tuning is F#4. Achieving F#4 from a standard G3 string with only a 'down 1 semitone' adjustment implies either a string specifically gauged for this higher octave, or a significant upward tensioning beyond a simple semitone shift from G3. Exercise extreme caution or consider a higher gauge string if attempting to reach F#4.
• String 2 (B): Tune down 1 semitone from B3. This specific movement results in A#3. However, the target note for this tuning is A#4. Similar to String 3, reaching A#4 from a standard B3 string with only a 'down 1 semitone' adjustment suggests a specialized string setup. Exercise extreme caution or consider a higher gauge string if attempting to reach A#4.
• String 1 (High E): Keep as is; no change (0 semitones). Stays at E4.

Note: For tuning changes exceeding negative 4 or positive 4 semitones, or if attempting significant octave shifts as implied for strings 2 and 3, a different gauge string is generally advised to prevent breakage and ensure proper intonation.