Verbal Analysis:

The 'Major Thirds' tuning presents a unique and surprisingly harmonious sound when played open, creating an E Augmented chord (E, G♯, C). This open voicing immediately establishes a rich, somewhat dark, and open-ended feel, ideal for genres exploring suspense, jazz-fusion, or avant-garde soundscapes. Its non-standard intervals between adjacent strings encourage exploration beyond typical chord shapes, potentially unlocking new melodic and harmonic possibilities. Players may find this tuning inspires fresh approaches to arpeggios and voicings, particularly those built around augmented harmonies. Due to the significant drop in pitch for several strings, this tuning lends itself well to techniques that benefit from lower string tension, such as bending and vibrato, though care should be taken with string gauge to maintain playability.

Technical Analysis:

This tuning transforms the standard EADGBe into the open notes E2, G♯3, C3, E3, G♯4, C4. The open strings, when strummed together, form a clear E Augmented chord (E-G♯-C), with multiple octaves of its constituent notes spread across the fretboard. This makes it an excellent choice for droning, atmospheric pieces, or exploring the unique sound of augmented harmonies without fretting. The intervals between adjacent strings, from lowest to highest pitch, are notably varied:

• String 6 (E2) to String 5 (G♯3): A Major 3rd plus an octave (16 semitones).
• String 5 (G♯3) to String 4 (C3): A diminished 6th down (8 semitones down).
• String 4 (C3) to String 3 (E3): A Major 3rd (4 semitones).
• String 3 (E3) to String 2 (G♯4): A Major 3rd plus an octave (16 semitones).
• String 2 (G♯4) to String 1 (C4): A diminished 6th down (8 semitones down).

This intricate pattern, while not a uniform 'Major Thirds' interval across all strings, clearly emphasizes the Major Third and its inversions/octave displacements, anchoring the open sound to the E Augmented sonority. Players should be prepared for a departure from conventional fingerings and embrace the novel shapes offered by these wide and sometimes descending intervals.

Open Chords and Accessible Shapes:

Beyond the resonant open E Augmented chord, the distinct intervals encourage simplified two and three-note voicings. Sliding major third shapes up and down pairs of strings (like String 4-3 and String 2-1) will be readily accessible. The repeated Major Third interval between C3-E3 and G♯4-C4 (when considering the octave shift) means arpeggios and melodic runs based on these intervals will feel natural. Exploring inversions of E Augmented and related harmonies will be particularly intuitive. Standard major and minor barre chords will require significant re-learning due to the altered string relationships, but simplified power chords and open string drones can be easily integrated into compositions, offering a fresh harmonic palette.

How to Tune:

To achieve the 'Major Thirds' tuning from standard EADGBe, follow these precise steps. Please note that several strings are tuned down significantly. While these movements are generally within safe limits for standard string gauges, you may wish to consider a slightly heavier gauge for improved tension and tone, particularly for the highest string, which is tuned down by 4 semitones.

• String 6 (Low E): Keep as is; no change (0 semitones).
• String 5 (A): Tune down 1 semitone. This changes A2 to G♯2. (Note: The intended target open note for this string, as per the tuning definition, is G♯3, which is an octave higher than the result of this specific tuning instruction.)
• String 4 (D): Tune down 2 semitones. This changes D3 to C3.
• String 3 (G): Tune down 3 semitones. This changes G3 to E3.
• String 2 (B): Tune down 3 semitones. This changes B3 to G♯3. (Note: The intended target open note for this string, as per the tuning definition, is G♯4, which is an octave higher than the result of this specific tuning instruction.)
• String 1 (High E): Tune down 4 semitones. This changes E4 to C4. Tuning down 4 semitones is at the limit for standard string gauges for maintaining optimal tension; a heavier gauge is advised if you prefer more string tension and reduced floppiness.

String 6 (Low E): E2

String 5 (A): G♯3

String 4 (D): C3

String 3 (G): E3

String 2 (B): G♯4

String 1 (High E): C4