Ichika - New Ethereal Tuning Analysis

This unique tuning, prominently featured in Ichika Nito's December 5th 2020 video "New Ethereal Tuning," is a fascinating departure from standard guitar voicings, crafted for expressive and ambient soundscapes.

Verbal Analysis

The "New Ethereal Tuning" is truly deserving of its name. It immediately presents a sound that is open, resonant, and often spacious, moving away from traditional chordal structures. The tuning features a striking re-entrant characteristic, where the highest string (String 1) is tuned lower in pitch than the string adjacent to it (String 2). This creates a unique sonic landscape, ideal for fingerstyle playing, complex arpeggios, and ambient textures rather than conventional strumming. The wide intervallic jumps, particularly the significant leap between String 3 (D3) and String 2 (A#4), followed by the drop to String 1 (C4), contribute to a sound that feels both expansive and delicate. Players will find that traditional chord shapes are rendered largely unusable, encouraging exploration of new voicings and melodic possibilities that exploit the unique open string relationships and the vast range of this tuning.

Technical Analysis

The tuning notes are F2-G2-C3-D3-A#4-C4. Let's break down the intervals and harmonic implications:

• String 6 (F2) to String 5 (G2): A Major 2nd (2 semitones) – provides a rich, open bass foundation.
• String 5 (G2) to String 4 (C3): A Perfect 4th (5 semitones) – a strong, stable interval.
• String 4 (C3) to String 3 (D3): A Major 2nd (2 semitones) – another open, ringing interval.
• String 3 (D3) to String 2 (A#4): An extraordinary leap of 20 semitones (an octave and a Major 6th). This is a highly defining characteristic, creating a massive intervallic jump that places String 2 in a significantly higher octave range than the preceding strings.
• String 2 (A#4) to String 1 (C4): A descending Major 7th (10 semitones down). This is the re-entrant aspect, with the thinnest string (C4) sounding lower than String 2 (A#4). This inversion of expected pitch order forces creative voicings and harmonic clusters.

Open Chords & Harmony

The combined open strings F-G-C-D-A#-C suggest a complex harmonic palette. Without fretting, these notes contain: C, D, F, G, A# (which is enharmonically Bb). This can be interpreted in several ways depending on the perceived root:

• C-centric: These notes form a C major triad (C-G-C) with added D (9th), F (11th), and A#/Bb (minor 7th). This could suggest a C Dominant 9th or 11th chord without the major 3rd.
• F-centric: An F major triad (F-C-C) with added G (2nd/9th), D (6th/13th), and A#/Bb (augmented 4th or minor 3rd relative to F).

The open strings lend themselves to a rich, often suspended, or dominant extended sound. The presence of C and F in multiple octaves, coupled with the open 2nd intervals (F-G and C-D), invites drone-like qualities and rich, sustained harmonies. The re-entrant C4 allows for inversions and harmonic clusters that are otherwise impossible in standard tuning, making this tuning a playground for avant-garde melodic and harmonic exploration. The wide intervallic shifts and re-entrant nature mean that conventional chord shapes are largely impractical, compelling the player to discover unique fingerings and voicings that leverage the tuning's inherent character.

Tuning Notes (Final State)

• String 6 (lowest string): F2
• String 5: G2
• String 4: C3
• String 3: D3
• String 2: A#4
• String 1 (highest string): C4

How to Tune from Standard EADGBe

• String 6 (E string): Tune up 1 semitone from E to F2. This is a minor adjustment.
• String 5 (A string): Tune down 2 semitones from A to G2. This is a minor adjustment.
• String 4 (D string): Tune down 2 semitones from D to C3. This is a minor adjustment.
• String 3 (G string): Tune down 5 semitones from G to D3. Caution: Tuning down 5 semitones is a significant change. It is generally advised to use a heavier gauge string for movements of 4 semitones or more (up or down) to maintain proper string tension and intonation, or tune with extra care to avoid potential floppiness.
• String 2 (B string): Tune down 1 semitone from B. This movement would typically result in A#3. Important Note on Discrepancy: The final tuning note specified for String 2 is A#4. However, tuning a standard B3 string down 1 semitone would result in A#3. Achieving A#4 from a standard B string would require tuning up significantly (11 semitones) and likely a much lighter string gauge. This discrepancy suggests that either a highly customized string set is essential for this tuning, or the intended starting point for String 2 is non-standard.
• String 1 (high e string): Tune down 4 semitones from E to C4. Caution: Tuning down 4 semitones is a notable change. Similar to String 3, consider using a slightly heavier gauge string for this to ensure good playability and intonation, or tune with care.

General Tuning Advice: When making significant tuning adjustments (more than 4 semitones up or down), using a string gauge specifically suited for the new tension is highly recommended. This helps prevent issues such as string breakage (when tuning up drastically) or excessive floppiness, poor intonation, and reduced sustain (when tuning down drastically). Always tune slowly, allow the strings to settle, and check intonation periodically at the 12th fret.