Tuning Analysis: Modal Sand

Modal Sand is a captivating and highly unconventional tuning for the guitar, described by its creator as sounding 'just like blowing sands.' This evocative phrase suggests an open, ethereal, and possibly dissonant soundscape, suitable for ambient, experimental, or modal compositions. The tuning features a unique combination of wide intervals and cross-over string pitches, which will radically alter the feel and approach to playing the instrument.

Technical Breakdown

The open strings are tuned to E2-A2#-B2-F4#-G3-D4 (from low to high). Let's break down the intervals between adjacent strings, which reveal the truly experimental nature of this tuning:

• String 6 (E2) to String 5 (A2#): Augmented 4th (Tritone, 6 semitones). This immediately introduces a strong, active dissonance or a modal ambiguity characteristic of Lydian or Phrygian modes.
• String 5 (A2#) to String 4 (B2): Minor 2nd (1 semitone). A very tight, jarring interval that will create significant tension and a distinct 'cluster' sound in the lower register.
• String 4 (B2) to String 3 (F4#): Compound Augmented 4th / Augmented 11th (19 semitones). This is an enormous leap in pitch, creating a massive chasm between the lower and middle registers of the guitar. This wide gap will make traditional chord shapes impossible and encourage distinct bass and treble voices.
• String 3 (F4#) to String 2 (G3): Descending pitch (F4# is 11 semitones higher than G3). This is a cross-over tuning, meaning String 3 is actually tuned higher than String 2. This is extremely unusual and will fundamentally change how chords and scales are perceived across these strings, requiring a complete re-learning of finger positions.
• String 2 (G3) to String 1 (D4): Perfect 5th (7 semitones). This is a harmonically stable interval, providing a point of resolution or a strong drone in the upper register.

Overall, this tuning is characterized by its wide, often dissonant intervals, the extreme pitch jump between String 4 and String 3, and the unique cross-over between String 3 and String 2. This combination suggests a tuning designed for atmospheric textures, drone work, and avant-garde explorations rather than traditional chordal playing.

Open Chords and Voicings

Due to the highly unusual intervals, particularly the tritone on the lowest strings, the extreme jump from the 4th to 3rd string, and the cross-over between the 3rd and 2nd string, traditional open chords are not readily available or conventionally resolved. The open strings E-A#-B-F#-G-D do not form a recognizable diatonic chord. Instead, players should explore:

• Drones and Textures: The open strings themselves can create a rich, modal, and sometimes unsettling drone. Focusing on individual string ringing and sympathetic vibrations will be key.
• Two-Note Voicings: Experiment with intervals across non-adjacent strings. For example, the perfect fifth between G3 and D4 on strings 2 and 1 will be a stable foundation for melodies.
• Arpeggios: Due to the wide range of pitches, arpeggiating the open strings or simple fingerings can create expansive and atmospheric sounds, evoking the 'blowing sands' imagery.
• Modal Exploration: The E-A#-B cluster on the bass strings leans into a highly chromatic or modal sound that might suit Lydian or Phrygian-dominant scales when fretted.

This tuning encourages a departure from standard guitar techniques, fostering creativity through its unique sonic landscape.

How to Tune: Modal Sand

This section outlines the string adjustments required to achieve the Modal Sand tuning, assuming a standard E2-A2-D3-G3-B3-E4 guitar tuning as a starting point. Please pay close attention to the instructions and the final target notes, as significant discrepancies are present in the provided tuning data between the specified movement and the target pitch for String 5 and String 3. When tuning beyond 4 semitones up or down, considering a different string gauge is highly recommended.

• String 6 (Low E String): Standard E2. The instruction is to Keep as is; no change (0 semitones). Following this, the string remains E2, which matches the target note of E2. No string gauge change is necessary.
• String 5 (A String): Standard A2. The instruction is to tune down 11 semitones. Following this, the string would reach A1#. However, the specified target note for this tuning is A2#. This represents an octave discrepancy between the tuning instruction (leading to A1#) and the desired final pitch (A2#). If the intention is to reach A2# from standard A2, you would tune *up* 1 semitone. Tuning down 11 semitones is an extreme adjustment; using a much heavier string gauge is highly advised to maintain tension and avoid breakage if A1# is the actual goal, or a lighter string if A2# is the goal and the instruction is misleading.
• String 4 (D String): Standard D3. The instruction is to tune down 3 semitones. Following this, the string would reach B2, which matches the target note of B2. This adjustment is moderate; the string may feel slightly looser.
• String 3 (G String): Standard G3. The instruction is to tune down 1 semitones. Following this, the string would reach F#3. However, the specified target note for this tuning is F4#. This represents an octave discrepancy between the tuning instruction (leading to F#3) and the desired final pitch (F4#). If the intention is to reach F4# from standard G3, this would require tuning *up* 11 semitones, which would be an extremely high tension and necessitate a much lighter string gauge to prevent breakage.
• String 2 (B String): Standard B3. The instruction is to tune down 4 semitones. Following this, the string would reach G3, which matches the target note of G3. Tuning down 4 semitones is at the upper limit for typical string adjustments; a different string gauge is advised for optimal playability and string longevity.
• String 1 (High E String): Standard E4. The instruction is to tune down 2 semitones. Following this, the string would reach D4, which matches the target note of D4. This adjustment is minor; no string gauge change is typically needed.

String 6 (Low E): E2

String 5 (A String): A2#

String 4 (D String): B2

String 3 (G String): F4#

String 2 (B String): G3

String 1 (High E): D4