Tuning Overview: ttng

This is the distinctive ttng tuning, famously used in their song "left alinged". It's a complex and highly unconventional tuning that transforms the guitar into an instrument capable of producing rich, open, and often melancholic or ethereal soundscapes, characteristic of the math-rock genre.

Verbal Analysis

At first glance, this tuning presents a wide and unusual intervallic structure. The open strings resonate with the notes E, B, D#, F#, B, E, from low to high. This arrangement forms a loose E Major 9th chord (E, G#, B, D#, F#), but with a unique voicing: the third (G#) is omitted, and the fifth (B) and root (E) are doubled across multiple octaves. The wide spread between the lower strings (E2, B2) and the significantly higher middle strings (D4#, F4#) creates a distinct, chiming quality, almost like two separate voices playing in unison or counterpoint. The repeated B and E notes provide a strong, resonant drone effect, which can be particularly effective for arpeggiated figures and melodic lines that allow the open strings to ring out. This tuning encourages a playing style focused on open harmonies, intricate arpeggios, and melodic phrasing that leverages the unique intervallic relationships, moving away from traditional chord shapes.

Due to the extreme pitch changes, especially the high D4# and F4# on the 4th and 3rd strings respectively, and the very low B2 on the 2nd string, many standard chord voicings will feel alien or simply impossible. Instead, new fingerings will naturally emerge, allowing for unique suspended, extended, or altered harmonies that are difficult to achieve in standard tuning. The open strings themselves present a beautiful, shimmering Emaj9 sound, perfect for ambient textures or intricate, intertwining melodies.

Technical Analysis

The tuning can be technically described as E2 B2 D4# F4# B2 E4. Compared to standard EADGBe tuning, this setup involves significant alterations to achieve its unique voicing:

• The 6th string (low E) remains at E2.
• The 5th string is tuned up a perfect 4th from its standard A2 to B2.
• The 4th string targets D4#, a considerable two octaves and a major second above the original D3.
• The 3rd string targets F4#, an octave and a major 6th above the original G3.
• The 2nd string is drastically tuned down an entire octave from its standard B3 to B2, matching the pitch of the 5th string.
• The 1st string (high E) remains at E4.

The resulting intervals from the lowest E string are: a perfect 5th (B), a major 7th (D#), a major 9th (F#), a perfect 5th (B, one octave lower than the D# and F#), and a root (E). This creates an exceptionally broad sonic palette, allowing for complex harmonic structures and resonant open voicings.

How to Tune

Here's how to adjust your guitar to the ttng tuning, strictly following the provided string movement instructions. Please pay close attention to the target notes in the tuning overview. Given the significant and sometimes contradictory changes, user discretion and caution are advised.

• String 6 (Low E): Keep as is; no change (0 semitones). The target note is E2.
• String 5 (A): Tune up 2 semitones. If starting from standard A2, this will bring you to B2. The target note is B2.
• String 4 (D): Tune up 1 semitone. If starting from standard D3, this would result in D#3. However, the target note for this string is D4#. Reaching D4# from D3 requires tuning up 13 semitones. Proceed with extreme caution and consider if the intent was truly to go from D3 to D4# with only 1 semitone movement listed, or if a different base tuning is assumed. Tuning up 13 semitones would certainly require a much lighter gauge string than standard.
• String 3 (G): Tune down 1 semitone. If starting from standard G3, this would result in F#3. However, the target note for this string is F4#. Reaching F4# from G3 requires tuning up 11 semitones. As with string 4, there's a significant discrepancy. Proceed with caution. Tuning up 11 semitones would certainly require a much lighter gauge string.
• String 2 (B): Tune down 12 semitones (one full octave). If starting from standard B3, this will bring you to B2. Caution: Tuning down an entire octave will make this string very slack. A heavier gauge string is strongly advised for proper tension and tone to avoid buzzing. The target note is B2.
• String 1 (High E): Keep as is; no change (0 semitones). The target note is E4.

For strings 4 and 3, it appears there is a conflict between the explicit semitone movements provided in the `fret_text` and the final target notes in `tuning_notes`. If your goal is to achieve the specific notes D4# and F4# (as listed in the final tuning), then the listed semitone adjustments are likely relative to a different, unspecified starting tuning or are simply incorrect in relation to standard EADGBe. If the `tuning_notes` are the authoritative final state, significant upward adjustments (far more than 1 semitone) are required for strings 4 and 3, which would necessitate extremely light gauge strings or a specialized set to prevent string breakage.