The Unison minor7 Tuning: A Sonic Exploration

The Unison minor7 tuning is a specialized configuration for guitarists looking to experiment with rich sonic textures built around unison notes and striking minor seventh intervals. As its name suggests, this tuning is crafted to highlight the interplay between identical notes across different strings and the resonant tension of minor sevenths. It's a tuning designed to play around with unisons and minor seventh intervals.

Verbal Analysis:

Imagine a deep, resonant hum with distinct layers. The open tuning provides a unique soundscape where each pair of adjacent strings (6th & 5th, 4th & 3rd, 2nd & 1st) rings in perfect unison. This creates an incredibly full and almost choir-like resonance for individual notes. When all strings are strummed open, you're greeted with a compelling blend of E, D, and C – notes that emphasize a dark, melancholic, and somewhat modal quality. The distinct minor seventh intervals between the E-E unison pair and the D-D pair, and again between the D-D pair and the C-C pair, create a harmonic tension that is both intriguing and inspiring. This isn't a tuning designed for instant major chords, but rather for atmospheric pads, intricate arpeggios, drone-based music, and melodic lines that leverage the sustained unisons. It lends itself well to ambient styles, experimental rock, or any genre where unique harmonic colors are desired.

Technical Analysis:

• Open Notes: E2, E2, D3, D3, C4, C4 (from low E to high E string).
• Unison Pairs: The tuning features three distinct unison pairs:
  • Strings 6 & 5: E2 / E2
  • Strings 4 & 3: D3 / D3
  • Strings 2 & 1: C4 / C4
• Intervalic Structure: The core of this tuning lies in the minor seventh intervals between the root notes of these unison pairs:
  • E to D: Minor 7th
  • D to C: Minor 7th
• Open Chord Voicings: When strummed open, the combination of E, D, and C does not form a conventional triadic chord. Instead, it creates a unique cluster:
  • With E as the perceived root, it offers the root (E), the minor 7th (D), and the minor 6th (C). This evokes an E minor or E Dorian type of sound, but with an added C providing a distinct flavor.
  • The multiple unisons create a thick, almost orchestral texture even on a single instrument.
• Chordal Opportunities: While not immediately chord-friendly in a traditional sense, the consistent intervals and unison pairs open up new avenues:
  • Barre Chords: A single finger barred across any fret will create a sequence of three unison pairs (e.g., barring the 5th fret yields A-A, G-G, F-F). This creates a strong root-minor7-minor6 structure, useful for drone or modal playing.
  • Arpeggios: The unisons make arpeggios incredibly lush and full-bodied.
  • Melodic Playing: The duplicated notes offer excellent opportunities for melodic lines where the same note can be played on two different strings simultaneously or in quick succession for emphasis.

How to Tune:

To achieve the Unison minor7 tuning, you will adjust your standard E Standard (E-A-D-G-B-e) guitar as follows. Please exercise caution when tuning, especially with significant changes, as string gauges may need to be adjusted for optimal playability and to prevent string breakage.

• 6th String (Low E): Keep as is; no change (0 semitones) to E2.
• 5th String (A): Tune down 5 semitones to E2. Note: Tuning down 5 semitones is a significant change. If you plan to use this tuning frequently, consider using a heavier gauge string for the 5th string to maintain tension and tone.
• 4th String (D): Keep as is; no change (0 semitones) to D3.
• 3rd String (G): Tune down 5 semitones to D3. Note: Tuning down 5 semitones is a significant change. If you plan to use this tuning frequently, consider using a heavier gauge string for the 3rd string to maintain tension and tone.
• 2nd String (B): Tune up 1 semitone to C4. This is a moderate change.
• 1st String (High e): Tune down 4 semitones to C4. Note: Tuning down 4 semitones is a significant change. If you plan to use this tuning frequently, consider using a heavier gauge string for the 1st string to maintain tension and tone.

General Caution: When tuning a string more than 4 semitones up or down from its standard pitch, it's generally advisable to consider using a different gauge string optimized for the new tension. This helps prevent excessive stress on the string (when tuning up) or a floppy, less resonant sound (when tuning down).

String 6 (Low E): Tuned to E2

String 5 (A): Tuned to E2

String 4 (D): Tuned to D3

String 3 (G): Tuned to D3

String 2 (B): Tuned to C4

String 1 (High e): Tuned to C4