This is a unique and highly experimental 5-string guitar tuning, named "3maj+tritonoenbajo." The name hints at its intriguing structure: an intended "major thirds" philosophy that is significantly altered by the presence of a tritone in the bass. The original description notes that "by lowering the sixth (implied lowest) string to a tritone, the philosophy of diminished thirds is preserved," suggesting a rich, complex harmonic foundation. This tuning is designed for specific harmonic explorations and unique soundscapes rather than conventional, easily strummed chords.

Technical Analysis

The open string notes for this tuning are F2 (String 5), B2 (String 4), D♯4 (String 3), G3 (String 2), and D♯5 (String 1). Let's examine the intervals between these open strings:

• String 5 (F2) to String 4 (B2): This forms a perfect tritone (augmented 4th, 6 semitones). This wide, dissonant interval in the bass is a defining feature, setting a distinct, often tense or bluesy, harmonic character, or providing a strong foundation for open, modern voicings. This directly addresses the "tritono en bajo" aspect of the tuning's name.
• String 4 (B2) to String 3 (D♯4): A remarkably large interval of a Major 10th (a Major 3rd plus an octave, 16 semitones). This creates a very open and resonant sound, with a significant melodic and harmonic gap between these two strings. This wide jump contributes to the tuning's unique spatial quality.
• String 3 (D♯4) to String 2 (G3): Moving down 9 semitones, this is a Major 6th interval (D♯4 down to G3). This unexpected melodic leap further deviates from conventional tuning patterns and allows for unique voicings and arpeggiations.
• String 2 (G3) to String 1 (D♯5): Another very large interval of a Major 13th (a Major 6th plus an octave, 21 semitones). This extreme jump emphasizes the open nature of the tuning, allowing for soaring melodies, expansive arpeggios, and rich harmonic layering, particularly with the octave doubling of D♯ between String 3 and String 1.

While the tuning's name suggests an inspiration from "major thirds," the actual open string intervals are quite varied and irregular, making it less suitable for strumming conventional chords. The presence of two D♯ notes (D♯4 and D♯5) provides an octave doubling that can add resonance and sustain. The original description mentions "accessible triads on the lower strings," which likely refers to specific fingerings that become convenient due to the F2-B2 tritone, allowing for unique bass voicings, power chords with added tension, or modal explorations rather than common open chord shapes. This tuning is likely best suited for experimental music, ambient soundscapes, or styles that thrive on dissonance, wide intervallic jumps, and arpeggiated figures.

How to Tune

To achieve this distinctive tuning, start from your guitar's current setup and adjust each string as follows. Please exercise caution when tuning, especially when increasing string tension.

• String 5: Tune up 1 semitone.
• String 4: Tune up 2 semitones.
• String 3: Tune up 1 semitone.
• String 2: Keep as is; no change (0 semitones).
• String 1: Tune down 1 semitone.

Note: All string movements for this tuning are within a range that should be safe for standard gauge strings. However, always be mindful of your instrument's limits and string tension. For tunings requiring movements of more than 4 semitones up or down, a different string gauge is typically advised to maintain optimal playability and prevent potential string breakage or neck damage.

The open notes for this tuning are:

String 5: F2

String 4: B2

String 3: D♯4

String 2: G3

String 1: D♯5