Tuning Analysis: Better Standard

The creator, Bernard "Senchant" Birgenheier, introduces this unique tuning with an intriguing philosophy: to improve the voicing of the open E minor 7th with an 11th (Emin7(11)) chord, which he found "terrible" in standard tuning. By "flipping octaves," he has crafted an open tuning that directly spells out an Emin7(11) with a rich, spread voicing, offering a fresh sonic landscape for guitarists.

Technical Breakdown

• Open Notes: The open strings are tuned to E2, B2, E3, A3, D4, G4 (from lowest to highest).
• Root Chord: Strumming all open strings yields a clear and resonant E minor 7th chord with an 11th (Emin7(11)). The notes E, B, E, A, D, G provide the Root, 5th, Octave, 11th (also the Perfect 4th), minor 7th, and minor 3rd respectively. This open voicing is particularly full and harmonious, living up to its creator's intention of a "better voiced" Emin7(11).
• Intervals: The tuning exhibits a pattern of mostly Perfect 4th intervals between the higher strings (B2 to E3, E3 to A3, A3 to D4, D4 to G4 are all Perfect 4ths). The lowest string pair (E2 to B2) forms a Perfect 5th. This structure creates a consistent fretboard logic for many shapes, especially across the middle and upper strings, making scale and chord patterns more predictable.
• Chordal Possibilities: The inherent Emin7(11) chord makes this tuning ideal for modal playing in E minor or related modes. Barre chords become highly versatile for quickly shifting to other minor 7(11) chords across the neck. For instance, barring all strings at the 1st fret will produce an Fmin7(11), and at the 2nd fret, an F#min7(11). The stacked 4ths on the upper strings also facilitate easier access to jazz-inspired voicings and provide a consistent framework for creating melodic lines that naturally complement the underlying minor 7(11) harmony.

Playing Experience

This tuning encourages a more open, resonant sound, particularly in the key of E minor. The consistent interval relationships on the higher strings can simplify the learning of scales and arpeggios, making diagonal movements across the fretboard more intuitive. Players can explore melodic lines that naturally complement the underlying minor 7(11) harmony, providing a lush backdrop for songwriting and improvisation. Its unique structure invites experimentation beyond standard playing conventions.

How to Tune

To achieve the 'Better Standard' tuning from standard EADGBe, follow these precise movements for each string:

• Low E String (6th): E2 - Keep as is; no change (0 semitones).
• A String (5th): Tune up from A2 to B2 (2 semitones up).
• D String (4th): Tune up from D3 to E3 (2 semitones up).
• G String (3rd): Tune up from G3 to A3 (2 semitones up).
• B String (2nd): Tune up from B3 to D4 (3 semitones up). Take care when tuning up 3 semitones.
• High E String (1st): Tune up from E4 to G4 (3 semitones up). Take care when tuning up 3 semitones.

Important Note on String Gauges: Tuning up by 3 semitones (as on the 2nd and 1st strings) significantly increases string tension. While 3 semitones might be manageable for most standard string sets, sustained tuning at this higher tension can increase the risk of string breakage. For movements exceeding 4 semitones up or down, it is generally advised to consider a different string gauge to ensure optimal playability and guitar health, and to prevent potential damage to your instrument.

String 6 (lowest): E2

String 5: B2

String 4: E3

String 3: A3

String 2: D4

String 1 (highest): G4