Tuning Analysis: Cry of the Ninth

This unique guitar tuning, named 'Cry of the Ninth' and inspired by nothing,nowhere's evocative piece "wanted to cry", creates a deeply melancholic yet harmonically rich soundscape. It transforms the standard EADGBe tuning into an open Em9 chord (E-G-B-D-F#), providing a dark, resonant foundation ripe for introspective and emotional compositions.

Technical Breakdown: E2 G2 D3 F4# B3 B3

• Overall Harmony: The open strings (E2, G2, D3, F4#, B3, B3) collectively form a powerful E minor 9 chord. This provides a ready-made, full, and complex harmonic palette simply by strumming the open strings, making it excellent for creating expansive and atmospheric textures.
• Low End Foundation: The lower strings (E2, G2, D3) establish a strong E minor 7 basis (E-G-D), offering depth and a slightly melancholic gravity to the sound.
• Unique Mid-Range: The F4# on the third string is notably high for its position, acting as the major ninth of the E minor chord. Its placement an octave above the expected F#3 adds a shimmering, almost piercing quality to the chord, contributing to a 'crying' or yearning sound that aligns with the tuning's inspiration.
• High End Resonance: The top two strings are both tuned to B3. This doubled perfect fifth creates a strong, resonant drone on the higher register, allowing for sustained notes and layered atmospheric textures.
• Chordal and Melodic Possibilities: The inherent Em9 chord means that many familiar minor shapes can be easily adapted or discovered. Sliding this open chord shape up the neck will yield various minor 9 voicings. The prominent F# on the third string allows for bright melodic ideas or subtle dissonant counterpoints against the minor harmony, while the lower strings provide a rich, dark backdrop.

How to Tune: From Standard EADGBe

To achieve the 'Cry of the Ninth' tuning, follow these specific string adjustments from standard EADGBe tuning:

• 6th String (Low E): Keep as is; no change (0 semitones). Stays at E2.
• 5th String (A): Tune down 2 semitones. Adjust from A to G2.
• 4th String (D): Keep as is; no change (0 semitones). Stays at D3.
• 3rd String (G): Tune down 1 semitone. Adjust from G to F#3. Note: The final tuning described (F4#) is an octave higher than the result of tuning a standard G string down 1 semitone. This suggests the specified final note for String 3 may imply an instrument setup (e.g., string gauge) that allows for this octave displacement beyond a simple semitone adjustment from standard. For the purpose of tuning instruction based strictly on the provided movement data, lower to F#3.
• 2nd String (B): Keep as is; no change (0 semitones). Stays at B3.
• 1st String (High E): Tune down 5 semitones. Adjust from E to B3.
  Important: Tuning this string down 5 semitones will result in significantly looser string tension. It is generally advised that for tuning movements exceeding 4 semitones (either up or down), a different gauge string should be considered for optimal playability and string longevity.

Here are the final notes for each string in the 'Cry of the Ninth' tuning:

• 6th String: E2
• 5th String: G2
• 4th String: D3
• 3rd String: F4#
• 2nd String: B3
• 1st String: B3