Verbal and Technical Analysis

This tuning, named "Major Thirds," presents an intriguing open string configuration of F#3-A#3-D3-F#4-A#4-D4. While branded as a "Major Thirds" tuning, a closer technical look reveals a more nuanced interval structure between adjacent strings:

• String 6 (F#3) to String 5 (A#3): Major Third (4 semitones)
• String 5 (A#3) to String 4 (D3): Perfect Fourth (down 5 semitones in pitch from A#3)
• String 4 (D3) to String 3 (F#4): Major Tenth (a Major Third plus an octave, 16 semitones)
• String 3 (F#4) to String 2 (A#4): Major Third (4 semitones)
• String 2 (A#4) to String 1 (D4): Minor Third (3 semitones)

Despite not having uniform major third intervals across all strings, this tuning aims to capture the essence and benefits typically associated with Major Thirds tunings. It's described as an excellent choice for beginners, significantly approximating standard tuning by only slightly altering the low E and high E strings. This often means standard string gauges can be used without issue.

A key advantage of Major Thirds tunings, which this setup leverages, is the compact nature of the octave, fitting into just four consecutive frets. This allows two octaves to be played within three common hand-positions (frets 1-4, 5-8, 9-12), greatly reducing hand-stretching. This feature makes it particularly accessible for young players, women, and others with smaller hands.

The design also minimizes pinky-usage, assigning it primarily to the natural note D. Important consecutive natural notes (E-F and B-C) are handled by the 1st-third fingers, further simplifying chord shapes and scales for novices. While true M3 tunings allow notes to be raised an octave by shifting three strings (and chords inverted by shifting strings on the same frets), the specific intervals of this particular "Major Thirds" tuning may offer unique voicings, requiring some adaptation.

Open Chords and Harmonic Possibilities

The open strings F#3-A#3-D3-F#4-A#4-D4 collectively form a D Augmented Triad (D - F# - A#), spread across two octaves. This creates a rich, dissonant, and harmonically interesting open sound that can be surprisingly versatile. Playing all open strings simultaneously yields a full D Augmented chord voicing, providing an immediate, unique sound palette.

• An open D Augmented chord provides a striking foundation, excellent for avant-garde, jazz, or experimental music.
• Due to the repeating D-F#-A# pattern (though not strictly M3 intervals across all strings), moving a single finger across all strings (barring) will produce other augmented chords, shifted chromatically. For example, barring at the first fret would yield an Eb Augmented chord (E G# C E G# C).
• The compact fretboard layout described allows for easier exploration of melodic lines and arpeggios within these augmented structures and their related scales, making complex harmonies more approachable.

How to Tune Your Guitar

To achieve the "Major Thirds" tuning from standard EADGBe, follow these precise adjustments for each string:

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

All string movements are within a safe range of +/- 4 semitones (the maximum change being 2 semitones up or down), so your standard string gauge should be perfectly suitable for this tuning without requiring heavier or lighter strings.