Alternating Thirds Tuning Analysis

This unique tuning, known as "Alternating Thirds" and originating from a Reddit post by xcrissxcrossx, presents a highly unconventional approach to guitar playing. It deviates significantly from standard tuning (E-A-D-G-B-E), creating a soundscape that is both challenging and rich with new harmonic possibilities.

Technical Analysis:

The tuning is characterized by a distinctive pattern of wide intervals between adjacent strings:

• 6th String (Low): F2
• 5th String: G#3 (a Minor Tenth, or an octave and a minor third, above F2)
• 4th String: C3 (a descending Major Third below G#3)
• 3rd String: D#4 (a Minor Tenth, or an octave and a minor third, above C3)
• 2nd String: G3 (a descending Major Third below D#4)
• 1st String (High): A#4 (a Minor Tenth, or an octave and a minor third, above G3)

This structure truly lives up to its "Alternating Thirds" name, as it essentially alternates between an ascending minor third (plus an octave) and a descending major third. The resulting open string notes are F2, G#3, C3, D#4, G3, A#4. This creates a very wide range across the fretboard, with significant octave displacements between strings. The lowest three strings (F2, G#3, C3) and highest three (D#4, G3, A#4) each span over an octave, making for very open voicings and distinct registers.

Harmonic and Chordal Implications:

Strumming all strings open will yield a complex and somewhat dissonant sound due to the wide intervals and the combination of F, G#, C, D#, G, A#. However, specific groupings can reveal interesting harmonies:

• The 6th and 4th strings (F2 and C3) form a strong perfect fifth, providing a solid bass foundation.
• The 5th, 3rd, and 1st strings (G#3, D#4, A#4) create a fascinating cluster. G# to D# is a perfect fifth descending, and D# to A# is a perfect fifth ascending. This forms a sound reminiscent of a G#sus2 or an A#sus2 (A# D# G#).
• Considering the notes F, C, G# (enharmonically Ab), this tuning could be explored for F minor or Fsus4 sonorities by judiciously muting or adding fretted notes.

Due to the non-standard intervals, traditional chord shapes will not translate directly. This tuning encourages an arpeggio-based approach, exploiting the wide string separation for open, ethereal, or percussive textures. Players will need to discover new fingerings and shapes, potentially favoring two or three-string voicings over full six-string chords. It's particularly well-suited for experimental music, soundscapes, and exploring unique melodic and harmonic ideas that break away from conventional guitar sounds.

Tuning Notes

Here are the target notes for each string in this tuning:

• 6th String (Low E): F2
• 5th String (A): G#3
• 4th String (D): C3
• 3rd String (G): D#4
• 2nd String (B): G3
• 1st String (High E): A#4

How to Tune (from Standard E-A-D-G-B-E)

Please follow these instructions carefully. Note that significant string tension changes are involved for some strings, and a different gauge string may be advisable for movements exceeding 4 semitones.

• 6th String (Low E): Tune up 1 semitone to F2.(This is a minor adjustment; standard string gauge is generally fine.)
• 5th String (A): Tune down 1 semitone to G#3.(This is a minor adjustment; standard string gauge is generally fine.)
• 4th String (D): Tune down 2 semitones to C3.(This is a minor adjustment; standard string gauge is generally fine.)
• 3rd String (G): Tune down 4 semitones to D#4.(This is a significant drop; exercise caution. Consider a different string gauge for optimal tension and playability.)
• 2nd String (B): Tune down 4 semitones to G3.(This is a significant drop; exercise caution. Consider a different string gauge for optimal tension and playability.)
• 1st String (High E): Tune down 6 semitones to A#4.(This is a very significant drop, a full tritone! A different string gauge is highly recommended to maintain proper tension, intonation, and to prevent string damage.)