The "E Minor 7(b5) Piano Chord Tuning" transforms your guitar into a rich, resonant instrument, evoking the complex harmonies of a piano. Originally described as an attempt to "simulate a piano chord on guitar," this tuning offers a distinctly sophisticated and melancholic soundscape.

Verbal Analysis

Imagine a jazz club at midnight, or a poignant soundtrack scene. This tuning immediately suggests a mood of introspection, mystery, and a touch of bluesy longing. The open strings ring out with a lush, full quality, providing a deep harmonic foundation that truly feels like playing a chord on a piano. It's a tuning that encourages exploration beyond typical major and minor sounds, opening doors to more advanced harmonic ideas.

Technical Analysis

The open strings are tuned to E2-G2-A#3-D3-E3-G4. This unique combination forms an E Minor 7(b5), also known as an E Half-Diminished Chord (E-G-Bb-D). Let's break down the intervals from the low E string:

• String 6 (E2): The root.
• String 5 (G2): A minor third above the root.
• String 4 (A#3): An augmented fourth (or tritone, enharmonically Bb) above the root, and a major third above the G.
• String 3 (D3): A minor seventh above the root, and a perfect fourth above the A#.
• String 2 (E3): An octave above the low E string.
• String 1 (G4): A minor third above the octave E.

The presence of the doubled E and G notes (E2, E3, and G2, G4) significantly enhances the sustain and body of the open chord, contributing to its "piano-like" feel.

Chordal Opportunities

• Open Chord: The most immediate benefit is the rich E minor 7(b5) chord ringing out on all open strings. This chord is fundamental in jazz, often appearing as the 'ii' chord in a minor ii-V-i progression.
• Movability: By simply barring across all strings at any fret, you can effortlessly transpose this half-diminished chord up and down the neck. For instance, barring at the 1st fret yields an F minor 7(b5), at the 3rd fret a G minor 7(b5), and so on. This makes it incredibly easy to navigate complex jazz chord progressions.
• Related Chords: Small adjustments can lead to other voicings. For example, fretting the 4th string (A#3) up one semitone to B3 would transform the chord into an E minor 7 (E-G-B-D-E-G), expanding its utility into blues and rock contexts. Experimentation with single-note fretting can unlock a wide array of chord voicings built upon this unique foundation.

Current Tuning Notes

• String 6 (Low E): E2
• String 5 (A): G2
• String 4 (D): A#3
• String 3 (G): D3
• String 2 (B): E3
• String 1 (High E): G4

How to Tune (from Standard E-A-D-G-B-E)

• String 6 (E2): Keep as is; no change (0 semitones).
• String 5 (G2): Tune down 2 semitones.
• String 4 (A#3): Tune down 4 semitones. Note: For movements of 4 semitones or more, a different string gauge may be advised to maintain optimal tension and prevent string breakage.
• String 3 (D3): Tune down 5 semitones. Note: For movements of 4 semitones or more, a different string gauge may be advised to maintain optimal tension and prevent string breakage.
• String 2 (E3): Tune down 7 semitones. Note: For movements of 4 semitones or more, a different string gauge may be advised to maintain optimal tension and prevent string breakage.
• String 1 (G4): Tune up 3 semitones.