The "Ricardo Moyano 6-String" tuning is a highly distinctive and open setup, adapted from a microtonal 8-string guitar tuning. This is not your typical standard EADGBe, or even a common open chord tuning, but rather a specialized arrangement designed to unlock unique harmonic possibilities and voicings. It maintains the low E, B, and high E strings from standard tuning, providing familiar anchors, while significantly altering the middle strings (5th, 4th, and 3rd).

Technical Analysis:

The open string notes are E2, F#3, C#4, F#4, B3, E4. When played together, these notes create a rich, consonant, and extended harmony. Let's break down the individual pitches and their relationships:

• String 6 (Low E): E2
• String 5: F#3 (a major 9th/compound major 2nd above the low E)
• String 4: C#4 (a perfect 5th above F#3)
• String 3: F#4 (a perfect 4th above C#4, and an octave above F#3 on the 5th string!)
• String 2: B3 (a major 3rd above F#3, but notably lower in pitch than C#4 and F#4 on the adjacent strings)
• String 1 (High E): E4 (a perfect 4th above B3)

The full set of open string pitches (E2, F#3, B3, C#4, E4, F#4, arranged by ascending pitch) creates a complex, open-ended sound. This collection of notes strongly implies an E major tonality with extensions, specifically resembling an Emaj9sus2 (no 3rd) or Eadd9/13 (no 3rd) chord. The absence of a G# means it leans towards a more modal or open-ended harmonic palette, perfect for nuanced sonic landscapes rather than simple major/minor statements.

Harmonic & Chording Observations:

This tuning encourages exploration beyond conventional chord shapes. The open strings themselves form a beautiful, resonant chord that can be strummed for a rich drone or arpeggiated for ethereal textures. The presence of F# and C# (the 2nd/9th and 6th/13th of E) provides a bright, Lydian-esque quality.

• Open Chord Potential: Strumming all open strings creates a complex yet harmonious E-centric sound, rich with extensions. It's immediately inspiring for ambient, jazz, or world music styles.
• Inner String Relationships: The 5th, 4th, and 3rd strings (F#3, C#4, F#4) form a powerful F#5 chord (F# octave C# octave F#). This block can be moved up and down the neck to create parallel harmonies, offering a unique sonic texture.
• Non-Linear Pitch Arrangement: The fact that the 2nd string (B3) is lower than the 3rd (F#4) and 4th (C#4) strings is a significant characteristic. This allows for intriguing arpeggio patterns and voicings that are difficult or impossible in standard tuning, enabling open strings to ring while fretting higher notes on lower-pitched strings. This feature is particularly useful for creating polyphonic textures.
• Chord Voicings: Common E major shapes will be greatly altered. Instead, the tuning lends itself to open, ringing chords using a combination of fretted notes and open strings. Exploring shapes that leverage the F#3-C#4-F#4 block alongside the E2, B3, and E4 strings will yield unique and resonant results. For example, a simple two-finger chord on strings 5 and 4 (e.g., fretting G on 5th and D on 4th) would produce a sound vastly different from standard tuning.

Overall, the Ricardo Moyano 6-String tuning is a sophisticated setup for players seeking to expand their harmonic and melodic vocabulary, particularly those interested in open, resonant sounds and experimental compositions.

Open String Notes:

• String 6 (Low E): E2
• String 5: F#3
• String 4: C#4
• String 3: F#4
• String 2: B3
• String 1 (High E): E4

How to Tune (from Standard EADGBe):

To achieve the Ricardo Moyano 6-String tuning, follow these adjustments from standard EADGBe tuning:

• String 6 (Low E): Keep as E2; no change (0 semitones).
• String 5 (A): Tune down 3 semitones to F#3.
• String 4 (D): Tune down 1 semitone to C#4.
• String 3 (G): Tune down 1 semitone to F#4.
• String 2 (B): Keep as B3; no change (0 semitones).
• String 1 (High E): Keep as E4; no change (0 semitones).

Note on String Gauge: All string adjustments are relatively minor, falling within typical limits for standard gauge strings. No specific string gauge changes are advised for this tuning, as no string is tuned up or down by more than 4 semitones.