This unique tuning, aptly named "Non-Standard - (EAEGBG)", is described by its creator as a modification of standard tuning, particularly useful for writing arpeggios and carrying a risk of breaking high E strings. Let's delve into its structure and potential.

Verbal and Technical Analysis

The open strings of E-A-E-G-B-G create a resonant, somewhat melancholic, and complex sonic landscape. At its core, the E-G-B notes form a clear E minor triad, giving the tuning an inherent minor tonality. However, the presence of the A on the 5th string introduces a suspended 4th (or 11th) element, resulting in an open sound that could be described as an E minor 11 (without the 7th). The high G on the 1st string then doubles the minor third, adding sparkle and sustain to the minor chord.

This tuning offers an interesting blend of intervals:

• Low End (E-A-E): The 6th, 5th, and 4th strings present an E-A-E configuration. This isn't a traditional power chord, but a root-4th-octave structure. Barring across these strings will yield suspended 4th voicings (e.g., barring at the 5th fret gives A-D-A). This can provide a strong, droning bass foundation.
• High End (G-B-G): The 3rd, 2nd, and 1st strings form a perfect G major triad. This is a very common and resonant interval structure, allowing for easy access to major chords by simply barring these three strings and moving up the neck. For instance, barring at the 2nd fret on these three strings yields an A major chord, and at the 5th fret, a C major chord.

The combination of an E-A-E bass and a G-B-G treble allows for unique arpeggio patterns, as the creator suggests. The repeated E's (6th and 4th strings) and G's (3rd and 1st strings) make it easier to locate root and minor third notes across the neck, facilitating melodic and harmonic exploration within the E minor framework. The standard B string (2nd) provides a familiar anchor for playing melodies or chord extensions on the higher strings.

Open chords available include variations of E minor, and by moving a simple barre shape up the neck, you can easily find other minor chords (e.g., F# minor by barring all strings at the 2nd fret, or B minor at the 7th fret). The tuning also lends itself well to playing in the key of E minor, A minor (with the open A string), or even G major, given the strong G major triad in the higher strings.

How to Tune

To achieve the "Non-Standard - (EAEGBG)" tuning from standard E Standard (E-A-D-G-B-E), follow these specific string adjustments:

• 6th String (Low E): Keep as is; no change (0 semitones). Stays at E2.
• 5th String (A): Keep as is; no change (0 semitones). Stays at A2.
• 4th String (D): Tune up 2 semitones. This string moves from D3 to E3. This is a moderate adjustment.
• 3rd String (G): Keep as is; no change (0 semitones). Stays at G3.
• 2nd String (B): Keep as is; no change (0 semitones). Stays at B3.
• 1st String (High E): Tune up 3 semitones. This string moves from E4 to G4. Please exercise caution here. Tuning a high E string up by 3 semitones places significant tension on it. While just under the recommended threshold of 4 semitones for a different gauge, the creator's note about "breaking high E strings" is a valid concern. Consider using a slightly heavier gauge for your 1st string if you plan to use this tuning frequently or for extended periods.

Always tune carefully and ensure your guitar's neck relief is adjusted appropriately when making significant tuning changes.