Tuning Description: E Mixolydian Open

As suggested by its name, this is a distinct and expressive open tuning for Guitar, designed to unlock the vibrant and "cool sounding" qualities of the E Mixolydian mode. It’s particularly well-suited for improvisation and melodic exploration in the keys of E and A. This tuning offers a unique palette for creating rich, resonant soundscapes and unconventional chord voicings.

Technical Analysis:

The open string notes are E2, F#3, C#4, F#4, A3, E4. This creates a non-standard but harmonically rich cluster of notes when strummed open: E, F#, A, C#.

• The two lowest strings, E2 and F#3, establish a strong root and a Major 2nd (or 9th), immediately setting a bright and open tone.
• The open notes E, F#, A, and C# are all present within the E Mixolydian scale (E F# G# A B C# D), providing a strong foundation for playing within this mode. The open strings themselves can be seen as an Eadd4add9 without the 3rd (G#) and 7th (D), emphasizing the characteristic intervals of the mode.
• Interestingly, an A Major triad (A, C#, E) is easily found on strings 2, 4, and 1, making the key of A very accessible. With the low E on string 6, this becomes an open A/E chord. The F# notes on strings 5 and 3 further enrich this, potentially hinting at an Amaj6/9/E voicing.
• The presence of two F# notes (F#3 and F#4) creates an octave doubling of the Major 2nd, which can be used for resonant drones or unique melodic lines.
• A notable feature is the descending interval between String 3 (F#4) and String 2 (A3), where String 2 is lower in pitch than String 3. This is unusual for standard tunings and encourages different fingerings and harmonic approaches, moving beyond conventional chord shapes.

Overall, this tuning encourages a modal approach, particularly suited for E Mixolydian, but also allows for exploration in E Major and A Major due to its open string relationships. The open, somewhat suspended quality of the notes lends itself to atmospheric and improvisational styles.

Open Chords and Reach:

• Open Strum: Strumming all open strings produces a rich, open sound that can be interpreted as an Amaj6/E (E-F#-C#-F#-A-E). This provides a ready-made chord for accompaniment or a drone foundation.
• A Major (A C# E): Playable using strings 2 (A3), 4 (C#4), and 1 (E4). Adding the low E (String 6) creates an A/E chord.
• E Sus2/Add4 (E F# A): By muting string 4 and 3, you can emphasize the E, F#, A, creating a suspended sound.
• Due to the non-linear string intervals (F#4 to A3), traditional chord shapes will need significant adaptation, promoting creativity and discovery of new voicings. Barre chords will still be functional but will produce unique harmonic results based on the open tuning's intervals.

Open String Notes:

• String 6 (Low E): E2 - The foundational bass note, providing a strong root for the tuning.
• String 5 (A String): F#3 - A bright Major 2nd above the low E (octave higher).
• String 4 (D String): C#4 - A Major 6th above the low E (two octaves higher).
• String 3 (G String): F#4 - An octave higher than the F#3 on String 5, doubling the Major 2nd.
• String 2 (B String): A3 - A Perfect 4th above the low E (one octave higher). Notably, this string is lower than String 3.
• String 1 (High E): E4 - An octave higher than the open low E, reinforcing the tonic.

How to Tune:

To achieve this unique E Mixolydian tuning, follow these precise string adjustments from standard E Standard tuning (E-A-D-G-B-E). Pay close attention to the semitone movements:

• String 6 (E): Keep as is; no change (0 semitones).
• String 5 (A): Tune down 3 semitones to F#3. This is a significant drop, so tune carefully to avoid string breakage or excessive slack. For sustained use, consider a lighter gauge string.
• String 4 (D): Tune down 1 semitones to C#4.
• String 3 (G): Tune down 1 semitones to F#4.
• String 2 (B): Tune down 2 semitones to A3.
• String 1 (E): Keep as is; no change (0 semitones).

Remember to tune slowly and carefully, checking the pitch frequently. While none of the individual string adjustments exceed 4 semitones up or down, it is generally good practice to consider different gauge strings if you frequently tune more than 4 semitones from standard pitch, to optimize tension and playability.