Tuning Analysis: Middle Four

The 'Middle Four' tuning presents a unique and versatile approach to the guitar, primarily by altering only two strings from standard EADGBe tuning while maintaining familiar low and high E anchor points. Its name aptly highlights its focus on the harmonic possibilities opened up by the middle four strings.

Verbal Analysis

This tuning is a fantastic choice for players looking to explore rich, open voicings without completely abandoning the familiarity of standard tuning. The alterations on the 5th and 3rd strings create a powerful harmonic core, making a G Major 7th chord readily available in open position across the middle four strings (G2, D3, F4#, B3). This specific arrangement makes it incredibly intuitive to achieve complex jazz and blues-inspired harmonies. The retention of the low E and high E strings in their standard positions means that many common chord shapes and scales rooted on these strings will still be accessible, providing a comfortable bridge for players transitioning from standard tuning. As the original description notes, this tuning excels at making various chord shapes easy, including major 7th, minor 7th, 6th, 7th, diminished 7th, and major chords.

Technical Analysis

The open string notes for this tuning are: E2 G2 D3 F4# B3 E4. Let's break down the intervals, focusing on the unique interplay of notes:

• 6th String (E2): The foundational root.
• 5th String (G2): A minor third above the 6th string (E2).
• 4th String (D3): A perfect fourth above the 5th string (G2), or a compound perfect fourth (perfect 11th) above the 6th string (E2).
• 3rd String (F4#): A major third above the 4th string (D3), but notably an octave higher than the corresponding F#3 if derived from a standard G3. This creates a significant jump in pitch between the 4th and 3rd strings. From the 6th string (E2), this is a compound major third (major 10th).
• 2nd String (B3): A major second above the 5th string (G2) or a minor third below the 3rd string (F4#), again crossing octaves.
• 1st String (E4): A perfect fourth above the 2nd string (B3), providing a familiar high E.

The standout feature is the arrangement of the middle four strings: G2, D3, F4#, B3. When stacked and reordered, these notes form a G Major 7th chord (G - B - D - F#). This open Gmaj7 chord allows for easy access to rich, extended harmonies. By simply fretting around these core intervals, players can quickly discover voicings for various chord types as mentioned, leveraging the inherent harmonic relationships within this cluster of notes.

Open Chords and Reachable Shapes

The open strings themselves do not form a single simple chord due to the wide intervals and octave jumps, especially with F4# and B3. However, the true power lies within the middle four strings: G2, D3, F4#, B3. This sequence directly forms a G Major 7th chord (G-B-D-F#) when viewed harmonically, making it incredibly easy to voice. Small adjustments can lead to other chords:

• G Major 7th (G-B-D-F#): Played open on strings 5, 4, 3, 2 (G2, D3, F4#, B3).
• G7 (G-B-D-F): Fret the 3rd string down one semitone from F4# to F4.
• Gm7 (G-Bb-D-F): Fret the 2nd string down one semitone from B3 to Bb3, and the 3rd string from F4# to F4.
• Diminished 7th: With the strong interval relationships, one can easily construct diminished voicings by altering a few notes, for example, an F# diminished 7th (F#-A-C-Eb) could be built around the F4# with minimal finger movement.

Tuning Notes

Here are the specific notes for each string in the 'Middle Four' tuning:

• String 6 (Low E): E2
• String 5 (A String): G2
• String 4 (D String): D3
• String 3 (G String): F4#
• String 2 (B String): B3
• String 1 (High E): E4

How to Tune

To achieve the 'Middle Four' tuning from standard EADGBe, follow these steps:

• String 6 (Low E): Keep as is; no change (0 semitones). The target note is E2.
• String 5 (A String): Tune down 2 semitones from A2 to G2.
• String 4 (D String): Keep as is; no change (0 semitones). The target note is D3.
• String 3 (G String): Tune down 1 semitones from G3 to F#3. (Note: The stated target note for the tuning is F4#, which is an octave higher than F#3. Achieving F4# from a standard G3 string by only tuning down 1 semitone is not typically possible; it would usually require an octave shift or a different string gauge/setup.)
• String 2 (B String): Keep as is; no change (0 semitones). The target note is B3.
• String 1 (High E): Keep as is; no change (0 semitones). The target note is E4.

Important Tuning Advice: Always exercise caution when tuning strings. For adjustments exceeding 4 semitones up or down (e.g., -5 or +5), it is generally recommended to consider using a different string gauge to prevent string breakage or damage to your instrument.