Scarlet's Tuning: A Mélange of Mood and Melody

This unique guitar tuning, aptly named 'Scarlet's Tuning', is a captivating sonic journey. As described by its creator, it's where 'dreams are made of', embodying a 'slightly melancholic but not too dark' essence. It conjures images of 'shades of purple and the color scarlet', perfectly capturing its nuanced emotional range. This tuning masterfully navigates 'the grey zone between major & minor (happy and sad)', offering a rich and expressive palette for the discerning musician.

Technical Analysis:

The open strings are tuned to E2 A2 E3 F#4 G#4 C#5. This configuration diverges significantly from standard EADGBe, creating a distinctive and complex harmonic foundation.

• The lowest E and A strings (6th and 5th) remain in their standard pitch, providing a familiar anchor for the bass.
• String 4 is raised a whole step from D3 to E3, creating an open E octave with the low 6th string. This reinforces the E tonality in the lower register.
• Strings 3, 2, and 1 undergo significant adjustments. From their standard G3, B3, and E4 pitches, they are altered to F#4, G#4, and C#5 respectively. Notably, the 3rd and 2nd strings are tuned to F#4 and G#4, creating a tight, adjacent semitone interval (F# to G#). This close voicing is a hallmark of this tuning, introducing a rich, often yearning or slightly suspended quality to open chords and melodic lines.

Analyzing the open string notes from the lowest E (E2) reveals a sophisticated harmonic structure:

• E (Root)
• A (Perfect 4th)
• E (Octave)
• F# (Major 9th)
• G# (Major 3rd / Major 10th)
• C# (Major 6th / Major 13th)

This combination essentially forms an E Major 6/9 with an added 4th (A), offering a rich, expansive sound. The presence of the Major 3rd (G#), Major 6th (C#), Major 9th (F#), and Perfect 4th (A) over the E root contributes directly to the 'grey zone' feel, allowing for both major and suspended voicings without a dominant perfect 5th (B) in the open position. This encourages open, modal, and less rigidly defined harmonies. The tuning is exceptionally well-suited for ambient soundscapes, intricate fingerstyle compositions, and melodic exploration that leans towards the expressive and contemplative rather than straightforward major/minor progressions. While no specific open chords are immediately obvious as traditional shapes, the intervallic relationships invite unique voicings by simply fretting single notes or using partial barres across the F#-G#-C# strings.

Open String Notes:

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

How to Tune:

To achieve Scarlet's Tuning from standard EADGBe, follow these precise adjustments for each string. Always tune carefully and slowly, especially when adjusting pitch upwards, and listen closely to your tuner. The semitone movements described below are relative to a guitar in standard EADGBe tuning.

• String 6 (Low E): Keep as is; no change (0 semitones). The target note is E2.
• String 5 (A): Keep as is; no change (0 semitones). The target note is A2.
• String 4 (D): Tune up 2 semitones from its standard D3 pitch to reach the target note E3. (Exercise caution when tuning up.)
• String 3 (G): Tune down 1 semitone from its standard G3 pitch to reach the target note F#4.
• String 2 (B): Tune down 3 semitones from its standard B3 pitch to reach the target note G#4.
• String 1 (High e): Tune down 3 semitones from its standard E4 pitch to reach the target note C#5.

General Advisory: All string movements for this tuning are within 4 semitones, meaning a change of string gauge is not strictly necessary for most players. However, always exercise caution when adjusting string tension. If you experience difficulty reaching the target octave for strings 1, 2, or 3 with the described semitone changes (e.g., tuning down 1 semitone from G3 typically results in F#3, not F#4), consult your tuner to ensure the correct target note and octave are achieved. Some guitar setups or string gauges may require more precise tuning or a different approach to reach specific high octaves with minimal semitone adjustments.