A13sus/G Tuning Analysis

The 'A13sus/G' tuning is a vibrant and harmonically rich setup for the guitar, characterized by its open, ringing quality and the prominence of major second intervals. As the provided description notes, it can be seen as an "Uptuned G Major scale tuning," creating a bright and expansive soundscape.

Verbal Analysis

This tuning immediately offers a bright, open, and slightly suspended quality. With a strong G in the bass and an octave G on the high string, it provides a solid foundation, while the intermediate strings introduce an array of melodic and harmonic possibilities. The abundance of major second intervals between certain strings (G-A, E-F#) leads to easy formation of open, clustered voicings and allows for expressive arpeggios that shimmer. It's particularly well-suited for ambient, modern folk, and jazz fusion styles where extended harmonies and drone elements are desired. The tuning encourages an open, fingerstyle approach, letting notes ring into each other, creating a rich sonic tapestry.

Technical Analysis

The open string notes are configured as follows, from low to high:

• String 6: G2
• String 5: A2
• String 4: E3
• String 3: F#4
• String 2: A3
• String 1: G4

Analyzing the intervals between adjacent strings:

• G2 (6th string) to A2 (5th string): Major 2nd
• A2 (5th string) to E3 (4th string): Perfect 5th
• E3 (4th string) to F#4 (3rd string): Major 2nd (an octave jump in pitch here)
• F#4 (3rd string) to A3 (2nd string): Minor 3rd (descending)
• A3 (2nd string) to G4 (1st string): Minor 7th (descending)

The collective open notes G, A, E, F# (with repeated G and A) lend themselves to a complex, extended G major harmony. Interpreted from a G root, we have G (root), A (Major 2nd/9th), E (Major 6th/13th), and F# (Major 7th). This effectively creates a Gmaj13(add9) sound, albeit without the 3rd (B) and 5th (D), which contributes to its open, suspended character. The `A13sus/G` naming likely reflects the ability to easily voice A-suspended chords or A-dominant 13th chords over a G bass note or drone, adding further harmonic complexity.

Chords and Voicings

The open strings themselves do not form a conventional closed-position chord but resonate as a beautiful, extended G major voicing. Because of the wide intervals and strategic M2 placements, players can easily create:

• Open G-based chords: While a full G major triad isn't present, the G-A-E-F#-A-G structure allows for Gmaj7, Gmaj9, or Gmaj13 voicings to be formed with minimal fretting, often by adding just one or two fingers.
• Suspended sounds: The prominent 'A' notes on strings 5 and 2, combined with the other notes, facilitate various 'Asus' chords (e.g., A7sus4, Aadd9sus4) when played over a G bass.
• Lydian qualities: The F# (M7) and E (M6/13th) over a G root lean towards a G Lydian sound, creating bright, uplifting melodies and harmonies.
• Modern voicings: The unique intervals allow for interesting two-note (dyad) and three-note chord clusters across the neck, perfect for contemporary jazz or ambient soundscapes. Barring across certain frets can yield rich, drone-filled textures.

How to Tune to A13sus/G

To achieve the A13sus/G tuning, you will adjust your standard E Standard tuning (E-A-D-G-B-E) as follows. Please proceed with care, especially when tuning strings up, to avoid snapping strings or damaging your instrument. Generally, movements of more than 4 semitones up or down may require a different string gauge.

• 6th String (Low E): Tune up 3 semitones to G2. (Original note E2)
• 5th String (A): Keep as is; no change (0 semitones). The string remains A2. (Original note A2)
• 4th String (D): Tune up 2 semitones to E3. (Original note D3)
• 3rd String (G): Tune down 1 semitone to F#4. (Original note G4)
• 2nd String (B): Tune down 2 semitones to A3. (Original note B3)
• 1st String (High E): Tune up 3 semitones to G4. (Original note E4)