Tuning Analysis: 7 String Major 3rds

This unique 7-string tuning, aptly named "Major 3rds," is designed for creative voicings on a guitar. While it is a 7-string setup, its overall pitch range, spanning from E2 on the lowest string to E4 on the highest, perfectly matches that of a standard 6-string guitar, allowing for a familiar tonal breadth within its unconventional harmonic structure.

Technical Analysis: Open String Notes and Intervals

The open strings of this tuning are as follows, from the lowest (7th) to the highest (1st) string:

• String 7: E2
• String 6: G#3
• String 5: C3
• String 4: E3
• String 3: G#4
• String 2: C4
• String 1: E4

Analyzing the intervals between consecutive strings reveals a highly unconventional and specific harmonic arrangement:

• String 7 (E2) to String 6 (G#3): A wide Major Tenth (16 semitones).
• String 6 (G#3) to String 5 (C3): A descending Minor Sixth (9 semitones down). This means the 5th string is pitched lower than the 6th string.
• String 5 (C3) to String 4 (E3): A Major Third (4 semitones).
• String 4 (E3) to String 3 (G#4): Another wide Major Tenth (16 semitones).
• String 3 (G#4) to String 2 (C4): A descending Minor Sixth (9 semitones down). Again, the 2nd string is pitched lower than the 3rd.
• String 2 (C4) to String 1 (E4): A Major Third (4 semitones).

When all open strings are strummed, the tuning collectively produces the notes C, E, and G#. These notes form a C Augmented triad across multiple octaves (E2, C3, E3, G#3, C4, E4, G#4 when ordered by pitch). This makes the open tuning itself a C Augmented chord, allowing for immediate harmonic richness.

Verbal Analysis: Playability and Potential

This tuning offers a very distinctive sonic landscape. The name "Major 3rds" likely refers to the interval relationship within the C Augmented chord (C-E is a Major 3rd, E-G# is a Major 3rd). The description of "close voicings" might refer to the ability to create tight clusters of the C Augmented chord notes across the fretboard, or it could be interpreted more broadly given the wide string-to-string intervals. The alternating pattern of very wide upward intervals followed by significant downward jumps presents a unique challenge and opportunity for exploring non-traditional harmonies.

Players exploring this tuning will find it particularly well-suited for:

• Augmented Harmony: The open strings immediately present a C Augmented chord, making it easy to compose or improvise in this harmonic territory.
• Symmetrical Shapes: The repeating interval pattern (M10, m6↓, M3, M10, m6↓, M3) means that chord shapes and melodic patterns built on this structure could be quite symmetrical, though the pitch "crossover" points will require careful navigation.
• Unconventional Sounds: This tuning is far from standard, opening up possibilities for modern classical, jazz, or experimental music where traditional diatonic harmony is not the primary goal.

Due to the significant upward tuning for several strings and the complex interval structure, this tuning is best suited for adventurous guitarists looking to push boundaries and explore new harmonic territories beyond conventional tunings.

How to Tune

To achieve the "7 string Major 3rds" tuning from a standard starting point, follow these instructions. Please note the significant upward tension on some strings, which may require a different string gauge for optimal playability and to prevent string breakage.

• String 7 (Lowest): Tune to E2. This involves tuning up 5 semitones. Caution: Tuning up 5 semitones is a significant increase in tension; consider using a lighter gauge string for this position.
• String 6: Tune to G#3. This involves tuning up 4 semitones. Caution: Tuning up 4 semitones is a substantial increase in tension; monitor string and neck stability.
• String 5: Tune to C3. This involves tuning up 3 semitones.
• String 4: Tune to E3. This involves tuning up 2 semitones.
• String 3: Tune to G#4. This involves tuning up 1 semitone.
• String 2: Tune to C4. This involves tuning up 1 semitone.
• String 1 (Highest): Tune to E4. This string should remain as is; no change (0 semitones).

String 7: E2
String 6: G#3
String 5: C3
String 4: E3
String 3: G#4
String 2: C4
String 1: E4