Tuning Description: Open A Mixolydian

This fascinating tuning, named "Open A Mixolydian", offers a rich and complex harmonic palette, diverging significantly from standard tuning. As described, it combines elements of an open E minor on the bass strings and an open F# minor on the treble strings. Verbally, this creates a soundscape that is both grounding and ethereal, with a bluesy, dominant quality thanks to the Mixolydian mode. It's a tuning that could feel at home in genres ranging from sophisticated blues and jazz-fusion to experimental rock or world music.

Technically, the open strings (E2 G2 B2 F4# A3 C5#) collectively form the notes of an A9+13 chord. Let's break this down:

• A (Root) is present on String 2.
• C# (Major 3rd) is present on String 1.
• E (Perfect 5th) is present on String 6.
• G (Minor 7th) is present on String 5.
• B (Major 9th) is present on String 4.
• F# (Major 13th, or #11) is present on String 3.

Due to its construction, many chords become incredibly accessible. The open strings already voice an A9+13. With minimal fretting, you can explore:

• A Major / A7 / Am chords by simply barring across certain frets or adding one or two fingers.
• The bass strings (E2 G2 B2) inherently form an E minor triad, offering a rich harmonic counterpoint or basis for bass lines.
• The treble strings (F4# A3 C5#) form an F# minor triad, further enhancing the complex harmonic possibilities.
• Sliding a single finger across all strings can create numerous dominant 9th or 13th chords in different keys, making it excellent for slide guitar.
• The intervals between strings are non-standard, inviting new fingerings and shapes for common chords, potentially leading to unique voicings.

Open String Notes:

String 6 (Low E): E2
String 5 (A): G2
String 4 (D): B2
String 3 (G): F4#
String 2 (B): A3
String 1 (High E): C5#

How to Tune to Open A Mixolydian:

To achieve this tuning from standard EADGBe, follow these steps for each string. Remember that negative values indicate tuning down semitones.

• String 6 (Low E): Keep as is; no change (0 semitones). This string remains at E2.
• String 5 (A): From its standard A3 pitch, tune down 2 semitones. The target note is G2. (Movement: -2 semitones)
• String 4 (D): From its standard D3 pitch, tune down 3 semitones. The target note is B2. (Movement: -3 semitones)
• String 3 (G): From its standard G3 pitch, tune down 1 semitone. This movement results in F#3. However, the intended target note for this string, as listed in the tuning notes, is F4#. Achieving F4# from a standard G3 by only tuning down 1 semitone is an octave discrepancy; F#4 is an octave above F#3. This implies either a significantly lighter gauge string tuned up an octave from a theoretical F#3, or the original source may have an unusual octave designation. Exercise extreme caution if attempting to reach F4# from a standard G3 string, as it would require significant additional tension. (Movement: -1 semitone)
• String 2 (B): From its standard B3 pitch, tune down 2 semitones. The target note is A3. (Movement: -2 semitones)
• String 1 (High E): From its standard E4 pitch, tune down 3 semitones. This movement results in C#4. However, the intended target note for this string, as listed in the tuning notes, is C5#. Achieving C5# from a standard E4 by only tuning down 3 semitones is an octave discrepancy; C5# is an octave above C#4. Similar to String 3, this implies either a significantly lighter gauge string tuned up an octave from a theoretical C#4, or the original source may have an unusual octave designation. Exercise extreme caution if attempting to reach C5# from a standard E4 string, as it would require significant additional tension. (Movement: -3 semitones)

Important String Gauge Note: Generally, when tuning strings up or down by more than 4 semitones (e.g., -5, +5, or more), it is advisable to use a different gauge string. This helps maintain appropriate string tension, prevents breakage, and protects your instrument's neck. For this particular tuning, while most movements are within a safe range, the specified target octaves for String 3 (F4#) and String 1 (C5#) are an octave higher than what would naturally result from the described semitone movements from standard tuning. If these higher octave notes are genuinely intended, using lighter gauge strings for these positions is strongly recommended to avoid excessive tension and potential damage.