Tuning Overview: Ichika's New Ethereal Tuning

The tuning, aptly named "Ichika's New Ethereal Tuning" by its discoverer, aims to unlock new harmonic possibilities and create an "ethereal" soundscape. This unique configuration moves significantly away from standard EADGBe, creating a sound profile rich in minor tonality and open chord voicings.

Technical Analysis

The open strings are set to F2, G2, C3, D4# (Eb4), A4# (Bb4), and C4 (from low E to high E string). When arranged chromatically and enharmonically, these notes are C, Eb, F, G, Bb. This collection of notes forms a complete C Minor Pentatonic Scale (C-Eb-F-G-Bb). This is a highly functional and inspiring tuning, particularly for lead playing and improvisation in a minor key without fretting many notes.

One of the most striking features is the presence of a C minor 7th chord (C-Eb-G-Bb) almost entirely within the open strings. Specifically, C3 (4th string), Eb4 (3rd string), Bb4 (2nd string), and C4 (1st string) can easily form a C minor or C minor 7th voicing. The low F2 and G2 strings provide rich bass movement and suspended qualities, opening up possibilities for Fsus or Gm/C type sounds.

The intervals between the strings are unconventional, moving from a major second (F2-G2), to a perfect fourth (G2-C3), then a significant jump of an octave and a minor third (C3-Eb4), followed by a perfect fifth (Eb4-Bb4), and finally a major second (Bb4-C4). This wide array of intervals, including two instances of a major second, will create interesting drone opportunities and unique fingerings for common chord shapes shifted across the fretboard.

Chords and Playability

• Open C Minor 7th: Due to the C, Eb, G, and Bb notes present across the open strings, various voicings of C minor 7th are readily available, providing a rich, resonant foundation.
• Minor Pentatonic Freedom: The entire open tuning functions as a C Minor Pentatonic scale, making it exceptionally easy to improvise and create melodies in the key of C minor. Simple barre chords will likely yield C minor or F minor inversions and extensions.
• Drone Opportunities: The repeating C notes and the strong C minor pentatonic framework allow for creative use of drones, especially on the 4th and 1st strings.
• Unique Voicings: The large interval jumps between some strings (e.g., C3 to D4#/Eb4) will encourage players to discover entirely new chord shapes and voicings that are characteristic of this tuning.

How to Tune

To achieve Ichika's New Ethereal Tuning, start from standard EADGBe tuning and follow these instructions carefully. Note the significant changes for some strings, where a different string gauge might be advisable if tuning outside a +/- 4 semitone range, or if the actual target pitch differs significantly from the movement instruction.

• String 6 (Low E): From its standard E2 pitch, tune up 1 semitone to reach F2. (Movement: +1 semitone)
• String 5 (A): From its standard A2 pitch, tune down 2 semitones to reach G2. (Movement: -2 semitones)
• String 4 (D): From its standard D3 pitch, tune down 2 semitones to reach C3. (Movement: -2 semitones)
• String 3 (G): From its standard G3 pitch, tune down 4 semitones. The target note for this string is D4# (Eb4). (Note on tuning: Tuning G3 down 4 semitones typically results in D3. The target note D4# is significantly higher than D3. If your goal is D4#, this represents a very large upward pitch adjustment from standard G3, not a downward one, and would likely require a lighter gauge string and extreme caution to avoid breakage. Proceed strictly according to the target pitch of D4# rather than solely relying on the semitone movement from standard G3.) (Movement: -4 semitones, but requires a large actual pitch change if aiming for D4# from G3)
• String 2 (B): From its standard B3 pitch, tune down 1 semitone. The target note for this string is A4# (Bb4). (Note on tuning: Tuning B3 down 1 semitone typically results in A#3/Bb3. The target note A4# is an octave higher than A#3. If aiming for A4# from standard B3, this represents a large upward pitch adjustment and requires caution. Follow the target pitch A4# precisely, and be mindful of string tension.) (Movement: -1 semitone, but requires a large actual pitch change if aiming for A4# from B3)
• String 1 (High E): From its standard E4 pitch, tune down 4 semitones to reach C4. (Movement: -4 semitones)

The movements specified for strings 3 and 1 are 4 semitones (absolute value), which is a significant adjustment. For these strings, and especially considering the potential octave discrepancies noted for strings 2 and 3 if tuning from standard EADGBe, it is highly recommended to consider using different string gauges to maintain optimal tension and prevent string breakage: lighter gauges for substantial upward tuning, and heavier gauges for significant downward tuning.

Open String Notes

When tuned, the open strings for this configuration will be:

• String 6 (Lowest Pitch): F2
• String 5: G2
• String 4: C3
• String 3: D4# (Eb4)
• String 2: A4# (Bb4)
• String 1 (Highest Pitch): C4