The Redonda Minor Thirds Tuning: F# B E G A# D

The Redonda Minor Thirds tuning, originally named "Redonda," presents a fascinating blend of familiar and innovative intervallic structures on the guitar. It's described as "very didactic, easy, and intuitive," aiming to leverage conventional string sets for a diverse chord repertoire compatible with the CAGED system, while also encouraging an intuitive exploration of tritones and perfect minor thirds.

Verbal Analysis

This unique tuning, with its F# B E G A# D configuration, creates a distinct tonal landscape. The lowest three strings (F#, B, E) are tuned in perfect fourths, providing a robust and somewhat familiar foundation for bass lines and power chords, though pitched higher than standard. The real character emerges in the upper register, where the E, G, A#, and D strings are all tuned in consecutive minor thirds (E-G, G-A#, A#-D). This symmetrical, compact arrangement in the higher strings opens up a world of interesting harmonic possibilities, favoring darker, more introspective voicings, and making diminished or augmented chord structures feel surprisingly natural. It's a tuning that invites exploration and rewards players with fresh melodic and harmonic ideas, moving beyond the conventions of standard tuning while retaining a degree of accessibility.

Technical Analysis

• Open String Notes: F#3 B2 E3 G3 A#4 D4
• Intervallic Structure (Low to High):
  • String 6 (F#) to String 5 (B): Perfect 4th (5 semitones)
  • String 5 (B) to String 4 (E): Perfect 4th (5 semitones)
  • String 4 (E) to String 3 (G): Minor 3rd (3 semitones)
  • String 3 (G) to String 2 (A#): Minor 3rd (3 semitones)
  • String 2 (A#) to String 1 (D): Minor 3rd (3 semitones)
• Harmonic Insights & Reachable Chords:

  The open strings themselves (F# B E G A# D) do not form a simple major or minor chord. However, the unique intervals allow for some immediate harmonic discoveries:

  • Open G minor Triad: The top three strings (G3, A#4, D4) beautifully form an open G minor triad (G - Bb - D), offering an immediate and rich harmonic anchor.
  • Tritone Exploration: An open tritone exists between String 4 (E) and String 2 (A#/Bb). This powerful, dissonant interval can be effectively utilized for jazz, blues, and experimental textures.
  • Diminished & Augmented Sounds: The consecutive minor thirds on the E, G, A#, and D strings greatly facilitate the construction of diminished and augmented harmonies with minimal effort. Barring these strings or using simple diagonal shapes will yield striking results.
  • CAGED Adaptations: While standard CAGED shapes will be significantly altered, the P4 relationship on the lowest three strings means that some familiar bass runs and lower-register chord fragments might be adaptable with a pitch shift. The upper minor thirds will require rethinking fretboard navigation for chords but can open up new melodic patterns.

How to Tune to Redonda Minor Thirds

To achieve the Redonda Minor Thirds tuning from standard EADGBe, follow these string adjustments. Please exercise caution when tuning strings upwards.

• String 6 (Low E): Tune up 2 semitones to F#3. (Tuning up 2 semitones is a moderate adjustment; ensure your strings can handle the increased tension.)
• String 5 (A): Tune up 2 semitones to B2. (Tuning up 2 semitones is a moderate adjustment; ensure your strings can handle the increased tension.)
• String 4 (D): Tune up 2 semitones to E3. (Tuning up 2 semitones is a moderate adjustment; ensure your strings can handle the increased tension.)
• String 3 (G): Keep as is; no change (0 semitones) to G3.
• String 2 (B): Tune down 1 semitone to A#4.
• String 1 (High E): Tune down 2 semitones to D4.

Note: For tunings that require shifts of 5 or more semitones (up or down), consider using a different string gauge to maintain proper tension and prevent string breakage or intonation issues. The adjustments here are mostly within safe limits but always exercise caution.

String 6: F#3
String 5: B2
String 4: E3
String 3: G3
String 2: A#4
String 1: D4