The Fingerpicking Major 3rd Tuning

The "Fingerpicking Major 3rd Tuning" is an experimental and highly distinctive open tuning, designed by its creator to "make a M3 tuning that also allows you to fingerpick open strings." This suggests a focus on creating unique harmonic textures and facilitating specific melodic or arpeggiated patterns, rather than simply spelling out a conventional chord.

Verbal Analysis

Unlike many open tunings that immediately spell out a clear major or minor chord, this tuning offers a rich, somewhat ambiguous harmonic landscape. When played open, the lower strings (6, 5, 4: F2, A#3, D3) present an inverted Bb Major triad (D-F-Bb), providing a distinct and unusual foundation. As we move to the middle and upper strings, a fascinating harmonic shift occurs. Strings 4, 3, 2 (D3, F#4, A#4) clearly form a D augmented triad (D-F#-A#), which is then reiterated on strings 3, 2, 1 (F#4, A#4, D4) also as a D augmented triad (in first inversion).

This prominent augmented harmony, especially across the middle and upper registers, creates a shimmering, ethereal, and somewhat suspenseful quality, deliberately moving away from conventional major/minor tonalities. This setup makes the tuning ideal for atmospheric soundscapes, modern fingerstyle compositions, or styles like blues/jazz fusion where extended or altered harmonies are desired. Open chords directly available from this tuning include:

• Bb Major (inverted): Achieved using strings 6, 5, and 4 (F2, A#3, D3).
• D Augmented: Achieved using strings 4, 3, and 2 (D3, F#4, A#4), or strings 3, 2, and 1 (F#4, A#4, D4).

The presence of stacked Major 3rd intervals (F2 to A#3, and F#4 to A#4) across different octaves hints at the "M3" in its name and provides interesting melodic possibilities. Due to the unique intervals between strings (such as a diminished 4th between string 5 and 4, or an octave between string 4 and 1), familiar chord shapes from standard tuning will be completely re-contextualized. However, this also opens up exciting new, easily reachable voicings, particularly those utilizing the open D augmented chords. Fingerpicking will be especially rewarding, allowing the player to highlight specific intervals and create arpeggiated figures that take full advantage of the tuning's unique harmonic palette.

Technical Analysis

This is an altered tuning for a 6-string Guitar, starting from standard EADGBe tuning. The open notes achieved are F2, A#3, D3, F#4, A#4, D4. The string movements required are moderate and generally safe for standard gauge strings:

• String 6 (Low E) is tuned up 1 semitone to F2.
• String 5 (A) is tuned up 1 semitone to A#3 (Bb3).
• String 4 (D) remains at D3 (no change).
• String 3 (G) is tuned down 1 semitone to F#4.
• String 2 (B) is tuned down 1 semitone to A#4 (Bb4).
• String 1 (High E) is tuned down 2 semitones to D4.

All string adjustments are within the range of a 2 semitone drop to a 1 semitone rise. This means the tuning is safe for standard gauge strings without significant risk of breakage or excessive slack. The specific sequence of rising and falling string tensions contributes significantly to its distinct open-string harmonic character.

Open String Notes

• String 6 (lowest string): F2
• String 5: A#3
• String 4: D3
• String 3: F#4
• String 2: A#4
• String 1 (highest string): D4

How to Tune

To achieve the "Fingerpicking Major 3rd Tuning" from standard EADGBe tuning, follow these specific adjustments for each string:

• String 6 (Low E): Tune up 1 semitones to F2.
• String 5 (A): Tune up 1 semitones to A#3.
• String 4 (D): Keep as is; no change (0 semitones) to D3.
• String 3 (G): Tune down 1 semitones to F#4.
• String 2 (B): Tune down 1 semitones to A#4.
• String 1 (High E): Tune down 2 semitones to D4.

Note: All string adjustments fall within the recommended range of -4 to +4 semitones. Therefore, your current standard gauge strings should be suitable for this tuning without requiring a change to a different gauge.