This tuning, whimsically described in its origin as something that "sounded nice" from "silly shapes," indeed reveals a highly unique and harmonically rich soundscape. It offers a bright, expansive, and somewhat ethereal quality, reminiscent of complex piano voicings or modern classical guitar compositions. The significant octave jumps between certain strings contribute to a very open and resonant feel, making it suitable for ambient soundscapes, intricate fingerstyle pieces, or creating a distinctive sonic foundation for experimental music.

Technical Analysis

The open strings are tuned to E2-B2-D4#-G4#-C5#-E4. Analysing the intervals from the lowest E2 (String 6):

• String 6 (E2): Root (P1)
• String 5 (B2): Perfect 5th (P5) above E2 (7 semitones)
• String 4 (D4#): Major 7th (M7) above E2, two octaves higher (16 semitones up from B2, 29 semitones from E2). This creates a very wide, open interval between strings 5 and 4.
• String 3 (G4#): Major 3rd (M3) above E2, two octaves higher (5 semitones up from D4#).
• String 2 (C5#): Major 6th / Major 13th (M6/M13) above E2, three octaves higher (5 semitones up from G4#).
• String 1 (E4): Perfect Octave (P8) above E2 (9 semitones *down* from C5#). This is a highly unusual arrangement where the first string (E4) is pitched lower than the second string (C5#).

Collectively, the open strings form a highly extended E Major 7th chord (E-G#-B-D#) with the addition of a C# (the Major 13th). The non-standard descending pitch from String 2 to String 1 (C5# to E4) creates a unique voice leading that challenges conventional guitar playing. The presence of these higher extensions and the wide intervallic leaps makes for a sophisticated and somewhat dissonant, yet pleasing, sound.

Chordal Exploration

Due to the unusual intervallic structure, standard chord shapes will need significant adaptation. However, this tuning naturally lends itself to:

• Open Emaj13 Chords: The open strings themselves form a rich Emaj13 voicing. Experiment with muting specific strings to reveal sub-harmonies.
• Wide Voicings: The large gaps, particularly between String 5 (B2) and String 4 (D4#), encourage playing across non-adjacent strings to create sparse, expansive chords.
• Drone Textures: The strong root (E2) and fifth (B2) on the lower strings can serve as a powerful drone, against which the higher, brighter strings can create melodic or harmonic interest.
• Sus Chords: The adjacent P4 intervals on strings 4-3 and 3-2 (D4#-G4#-C5#) naturally create suspended chord fragments (e.g., a D#sus4 or G#sus4 voicing with a single finger across these strings).
• Melodic Lines: The varied string pitches can make for interesting melodic movements, especially when played arpeggiated, creating a harp-like quality.

How to Tune (From Standard EADGBe)

Please note: The 'How to Tune' instructions below are derived directly from the provided 'string_movements' data, which specifies tuning adjustments from standard EADGBe. However, there is a significant discrepancy for strings 4, 3, and 2 between the target notes described by these tuning movements and the 'tuning_notes' provided for analysis. For strings 4, 3, and 2, the 'tuning_notes' are an entire octave higher than what the tuning instructions suggest. Tuning to the 'tuning_notes' (D4#, G4#, C5#) from standard D3, G3, B3 would require tuning up 13 semitones (over an octave) for each, which is extreme and would likely necessitate a change to a lighter gauge string to prevent breakage and avoid excessive tension.

• String 6 (Low E): Tune from E2 to E2. Keep as is; no change (0 semitones).
• String 5 (A): Tune from A2 to B2. Tune up 2 semitones.
• String 4 (D): Tune from D3 to D#3. Tune up 1 semitone. (Note: The analyzed tuning is D4#, an octave higher than D#3. Tuning D3 to D4# would be +13 semitones, requiring a lighter gauge string.)
• String 3 (G): Tune from G3 to G#3. Tune up 1 semitone. (Note: The analyzed tuning is G4#, an octave higher than G#3. Tuning G3 to G4# would be +13 semitones, requiring a lighter gauge string.)
• String 2 (B): Tune from B3 to C#4. Tune up 2 semitones. (Note: The analyzed tuning is C5#, an octave higher than C#4. Tuning B3 to C5# would be +13 semitones, requiring a lighter gauge string.)
• String 1 (High E): Tune from E4 to E4. Keep as is; no change (0 semitones).

Important Caution: While the individual string movements specified (0 to 2 semitones) are generally safe for standard gauge strings, attempting to reach the higher octave notes (D4#, G4#, C5#) for strings 4, 3, and 2 from standard tuning would involve tuning up 13 semitones, which is well beyond a safe range for typical guitar strings and could lead to string breakage or damage to your instrument. If your intention is to achieve the E2-B2-D4#-G4#-C5#-E4 tuning, it is strongly advised to use a lighter gauge string set, specifically chosen for high-tension or higher-octave tunings on those particular strings, and to proceed with extreme caution.