Welcome to the 3 Step Tuning! This unique configuration for your guitar offers an intriguing sonic landscape, designed to "make scales easier to visualize," as per its original description. While not following a conventional consistent interval structure like all-fourths or all-fifths, this tuning presents a fascinating mix of minor third jumps and wide, octave-spanning intervals.

Verbal Analysis

At first strum, the 3 Step Tuning might sound unconventional, even avant-garde, due to the significant intervallic leaps between certain strings. The low E (6th string) anchors the tuning, providing a familiar starting point. However, the immediate jump to a G on the 5th string (a minor third) sets a different harmonic mood. The most striking features are the large octave jumps on the 4th (A#3 from G2) and 2nd (D#5 from C#4) strings, creating a very open and resonant sound with widely spaced pitches. This spread can lead to interesting voicings and textures not typically found in standard tuning, encouraging exploration outside of common chord shapes. The name "3 Step" likely refers to the recurring minor third (3 semitone) interval found between the 6th-5th, 4th-3rd, and 2nd-1st strings, providing pockets of familiar melodic relationships within an otherwise expansive tuning.

The claim of making scales easier to visualize might stem from these consistent minor third intervals. For example, a minor scale pattern could potentially be played across these specific string pairs with a consistent finger shape, simplifying certain melodic runs despite the overall complex structure. It’s a tuning that encourages a fresh approach to the fretboard, potentially revealing new melodic and harmonic possibilities through pattern recognition.

Technical Analysis

The 3 Step Tuning presents the following open notes from low to high:

• E2 (6th String)
• G2 (5th String)
• A#3 (4th String)
• C#4 (3rd String)
• D#5 (2nd String)
• F#5 (1st String)

Analyzing the intervals between adjacent strings (in semitones):

• 6th to 5th (E2 to G2): 3 semitones (Minor Third)
• 5th to 4th (G2 to A#3): 15 semitones (Minor Tenth, or Minor Third + Octave)
• 4th to 3rd (A#3 to C#4): 3 semitones (Minor Third)
• 3rd to 2nd (C#4 to D#5): 14 semitones (Major Ninth, or Major Second + Octave)
• 2nd to 1st (D#5 to F#5): 3 semitones (Minor Third)

The recurring minor third intervals (E-G, A#-C#, D#-F#) are a defining characteristic, offering harmonically rich relationships within smaller string groupings. The large octave jumps, particularly between the 5th-4th and 3rd-2nd strings, create a very open, almost piano-like voicing across the instrument. This wide spacing means that traditional chord shapes will likely not translate directly, forcing players to discover new fingerings and voicings. While complex, these unique intervals could simplify certain scale patterns or arpeggios that align with the 3-semitone groupings.

Open Chords & Potential Shapes

The open strings themselves (E G A# C# D# F#) don't immediately form a common diatonic chord, but they suggest an extended, altered harmony. Considered in relation to E, we have: E (root), G (minor third), A# (augmented fourth/tritone), C# (major sixth), D# (major seventh), F# (major ninth). This set of notes hints at a complex E-based harmony, possibly an E7(#9#11) or a derivative of a diminished or whole-tone scale. Players might find themselves gravitating towards:

• One-finger minor chords: Due to the 3-semitone intervals, barring a single fret across the 6th-5th, 4th-3rd, or 2nd-1st strings will produce minor 3rd intervals, which can be the foundation of minor chords or arpeggios.
• Open, expansive voicings: The wide gaps will naturally lead to more spread-out chord voicings, great for ambient or experimental music.
• Diminished or Augmented structures: The presence of A# (Bb) and C# (Db) suggests exploration of diminished or augmented arpeggios and scales, where consistent intervals are key. For instance, moving a shape up or down by 3 frets (a minor third) could reveal new chord voicings with similar qualities.

This tuning is an excellent choice for adventurous players looking to break free from traditional patterns and discover new sonic territories.

How to Tune

To achieve the 3 Step Tuning, follow these instructions carefully. Please note that significant tension changes may occur on some strings, and it's advisable to consider a different string gauge if you frequently use tunings that require movements of 4 or more semitones.

• 6th String (Low E): Keep as is; no change (0 semitones). Target Note: E2.
• 5th String (A): Tune down 2 semitones. Target Note: G2.
• 4th String (D): Tune down 4 semitones. Target Note: A#3. Caution: Tuning down 4 semitones is a significant change. Consider using a heavier gauge string for this if used regularly.
• 3rd String (G): Tune down 6 semitones. Target Note: C#4. Caution: Tuning down 6 semitones (a perfect fifth) is a very large change. A heavier gauge string is strongly advised for this.
• 2nd String (B): Tune up 4 semitones. Target Note: D#5. Caution: Tuning up 4 semitones is a significant change. Consider using a lighter gauge string for this if used regularly.
• 1st String (High E): Tune up 2 semitones. Target Note: F#5.