This tuning, aptly named "Minor Thirds (Lower 2 Bassd)", presents a truly unique and somewhat unconventional landscape for guitarists. While its name suggests an arrangement primarily in minor third intervals, a closer look at the actual notes reveals a more intricate and varied harmonic structure. The lowest two strings, E2 and G2, indeed form a solid minor third, establishing a deep, resonant foundation. The middle strings E3 and G3 also maintain this minor third relationship, providing a familiar harmonic anchor.

However, significant wider intervals are present between G2 and E3 (a Major Sixth) and G3 and A4# (a Major Ninth), which break the consistent minor third pattern. The highest two strings, A4# and C5#, then return to a tight minor third interval, providing a bright, distinct upper register. This creates a tuning that can offer both close, melancholic harmonies and expansive, open voicings. The notably high pitch of the A4# and C5# strings suggests a bright, almost mandolin-like quality in the upper register, which could be interesting for melodic lines and arpeggios, though string gauge choice would be critical for playability and string integrity.

Technical Analysis:

• Open String Notes: E2-G2-E3-G3-A4#-C5#
• Intervals Between Adjacent Strings:
  • String 6 (E2) to String 5 (G2): Minor Third (3 semitones)
  • String 5 (G2) to String 4 (E3): Major Sixth (9 semitones)
  • String 4 (E3) to String 3 (G3): Minor Third (3 semitones)
  • String 3 (G3) to String 2 (A4#): Major Ninth (15 semitones, equivalent to an octave + Major Second)
  • String 2 (A4#) to String 1 (C5#): Minor Third (3 semitones)

The presence of multiple minor third intervals on specific string pairs (6-5, 4-3, 2-1) simplifies the formation of minor chords and arpeggios by barring across these strings. This can lead to easily accessible minor voicings along the fretboard. The wider intervals (Major Sixth and Major Ninth) create opportunities for large, resonant voicings and drone effects, but also demand significant stretches or skips for conventional scale patterns. The open string combination of E2-G2-E3-G3-A4#-C5# forms a complex, dissonant chord, which could be described as an E minor (with added #11 and 6th, or E minor with b5 and 6th, and compound intervals), offering a unique harmonic palette for experimental or atmospheric music.

How to Tune:

To achieve the 'Minor Thirds (Lower 2 Bassd)' tuning from standard EADGBe, follow these steps carefully:

• String 6 (Low E - E2): Keep as is; no change (0 semitones).
• String 5 (A - A2): Tune down 2 semitones to G2.
• String 4 (D - D3): Tune up 2 semitones to E3. (Tuning up 2 semitones is generally safe for standard gauge strings, but always proceed slowly and carefully to avoid breakage.)
• String 3 (G - G3): Keep as is; no change (0 semitones).
• String 2 (B - B3): Tune down 1 semitone to A#3.
• String 1 (High E - E4): Tune down 3 semitones to C#4.

Important Note on Treble Strings (String 2 & 1): While the individual semitone adjustments for strings 2 and 1 from standard EADGBe (B3 down to A#3, and E4 down to C#4) are within safe limits for typical string gauges, it is crucial to recognize that the target notes specified for this tuning are A4# and C5#. These target notes are an octave higher than what these particular semitone movements from standard tuning would typically produce (A#3 and C#4). Tuning standard gauge strings up to A4# and C5# would place them under extreme tension. A lighter gauge string set would be strongly advisable to prevent breakage and ensure optimal playability. Always tune slowly and be highly mindful of string tension, especially when aiming for these higher octave pitches.