This is the Edim tuning for Guitar. Based on the specified open string notes, this tuning establishes a unique, harmonically rich, and somewhat complex sound.

Verbal Analysis

At first glance, this tuning, named "Edim," suggests a diminished character, and indeed, the open strings form a clear E diminished 7th chord (E-G-A#-C#). This immediately opens up possibilities for dark, mysterious, or suspenseful voicings. The "Systematic tuning with all minor thirds" description from the tuning's creator highlights a design principle, however, a detailed analysis of the actual notes reveals some interesting octave shifts and deviations from a purely consistent minor third interval between *every* adjacent string.

The presence of the E diminished 7th chord in the open position means that this tuning is highly symmetrical and inherently movable. Sliding the entire open chord shape up or down the fretboard by intervals of three frets (a minor third) will generate other diminished 7th chords (e.g., G dim7, A# dim7, C# dim7). This makes it excellent for improvising over diminished harmonies or for creating exotic, repeating melodic patterns.

However, the large jumps in pitch between String 5 (G2) and String 4 (A#3), and the significant drop from String 3 (C#4) to String 2 (E3), will present unique fingering challenges and opportunities. These octave displacements create a wide range, preventing a simple "all strings barre" approach, but inviting more intricate voicings and arpeggios that utilize the full breadth of the tuning.

Technical Analysis

The open strings are tuned to: E2 G2 A#3 C#4 E3 G3. Let's examine the intervals between adjacent strings:

• String 6 (E2) to String 5 (G2): Minor Third (3 semitones)
• String 5 (G2) to String 4 (A#3): Minor Tenth (Minor Third + Octave, 15 semitones). This is a substantial leap in pitch.
• String 4 (A#3) to String 3 (C#4): Minor Third (3 semitones)
• String 3 (C#4) to String 2 (E3): Descending Major Sixth (9 semitones down). This is a significant drop in pitch, effectively an octave below where a consistent minor third pattern would place it relative to C#4.
• String 2 (E3) to String 1 (G3): Minor Third (3 semitones)

While the tuning features prominent minor third intervals (E-G, A#-C#, E-G), the octave displacements on the 4th and 2nd strings prevent it from being a strictly "all minor thirds" tuning across adjacent strings. The open tuning forms an Edim7 (E-G-A#-C#) chord spanning the entire fretboard, making it a powerful resource for diminished harmony.

How to Tune (From Standard EADGBe)

Achieving the specified tuning involves a series of down-tunings from standard EADGBe (E2 A2 D3 G3 B3 E4). Please note: There is a discrepancy between the provided target notes for String 4 (A#3) and String 3 (C#4) and the implied target notes if strictly following the semitone movements from a standard EADGBe starting point. The instructions below strictly follow the 'fret_text' movement from a standard tuning. If you aim for the exact 'tuning_notes' (A#3 and C#4), strings 4 and 3 would require different movements or different starting pitches.

• String 6 (Low E): Keep as is; no change (0 semitones). Stays at E2.
• String 5 (A String): Tune down 2 semitones from A2 to G2.
• String 4 (D String): Tune down 4 semitones from D3 to B2. (Note: The target 'tuning_notes' specifies A#3 for this string, which would require tuning *up* 5 semitones from D3 or a different starting note.)
• String 3 (G String): Tune down 6 semitones from G3 to C#3. (Note: The target 'tuning_notes' specifies C#4 for this string, which would require tuning *up* 6 semitones from G3, not down.)
• String 2 (B String): Tune down 7 semitones from B3 to E3.
• String 1 (High E): Tune down 9 semitones from E4 to G3.

String Gauge Considerations

Most of these string movements involve significant down-tuning. For optimal tension and playability, especially on the lighter strings, consider using a different gauge set:

• String 4 (-4 semitones): While often acceptable with standard gauges, it's approaching the range where a slightly heavier gauge could improve feel and tone.
• String 3 (-6 semitones): Tuning down a full 6 semitones (a tritone) will significantly loosen the string. A heavier gauge is strongly advised for proper tension and intonation.
• String 2 (-7 semitones): Tuning down 7 semitones (a perfect fifth) will make this string very loose. A heavier gauge is strongly advised.
• String 1 (-9 semitones): Tuning down 9 semitones (a major sixth) will result in extreme looseness. A much heavier gauge string is essential for playability and avoiding buzzing.

Consulting a luthier for a setup tailored to this specific tuning, especially with heavier gauges, would be beneficial.

String 6 (Low E): E2

String 5 (A String): G2

String 4 (D String): A#3

String 3 (G String): C4#

String 2 (B String): E3

String 1 (High E): G3