Verbal Analysis

This unique guitar tuning, which we've named "G Diminished Seventh Tuning," creates a highly expressive and tension-filled soundscape. The open strings themselves form a complete G diminished seventh chord, making it ideal for styles that embrace dissonance, suspense, and dramatic harmonic shifts. It moves away significantly from standard tuning, offering a fresh perspective for composition and improvisation. Players will find this tuning inspiring for blues, jazz, classical, or experimental music where a rich, dark, and often unsettling timbre is desired. It's less suited for straightforward strumming of major/minor chords in standard positions, encouraging more arpeggiated or intervallic playing.

Technical Analysis

This tuning is set for a 6-string Guitar. The open notes are G1, A#2, C#3, E2, G2, A#3 (or G-Bb-Db-E-G-Bb). This arrangement forms a G diminished seventh chord (G-Bb-Db-E) across the open strings, with repeating notes at different octaves.

• String 6 (G1): The root of the diminished chord, providing a deep foundation.
• String 5 (A#2 / Bb2): A minor third (or minor tenth from the root), adding the characteristic minor quality.
• String 4 (C#3 / Db3): A diminished fifth (or diminished twelfth from the root), further intensifying the diminished quality.
• String 3 (E2): A diminished seventh (enharmonically Fbb, but commonly written as E in a Gdim7 context, effectively a major sixth from the root), completing the diminished seventh chord.
• String 2 (G2): An octave above the lowest string, reinforcing the root.
• String 1 (A#3 / Bb3): Another minor third, providing a higher voicing of the minor third interval.

The presence of G, A# (Bb), C# (Db), and E as the unique open notes means that playing all open strings will produce a Gdim7 chord. The consistent diminished intervals across the strings (e.g., G to A#, A# to C#, C# to E) make it easy to shift this entire chord up or down the neck to find other diminished seven voicings. The non-standard intervals between adjacent strings will challenge conventional chord shapes but open up new harmonic and melodic possibilities for unique voicings and arpeggios.

How to Tune

This section describes the string movements from standard EADGBe tuning to achieve the specified notes. Given the significant changes, especially tuning strings down by more than 4 semitones, it is advisable to consider using different gauge strings for optimal tension and tone. Extreme changes can also put stress on the guitar neck.

• String 6 (Low E): Tune down 4 semitones. (Target note: G1) *Caution: Tuning down 4 semitones is a significant change, consider a heavier gauge string.*
• String 5 (A): Tune down 6 semitones. (Target note: A#2) *Caution: Tuning down 6 semitones is a significant change, consider a heavier gauge string.*
• String 4 (D): Tune down 8 semitones. (Target note: C#3) *Caution: Tuning down 8 semitones is a significant change, consider a heavier gauge string.*
• String 3 (G): Tune down 10 semitones. (Target note: E2) *Caution: Tuning down 10 semitones is a significant change, consider a heavier gauge string.*
• String 2 (B): Tune down 12 semitones. (Target note: G2) *Caution: Tuning down 12 semitones (an octave) is a significant change, consider a heavier gauge string.*
• String 1 (High E): Tune down 13 semitones. (Target note: A#3) *Caution: Tuning down 13 semitones is a significant change, consider a heavier gauge string.*

Please note: The specified semitone movements are based on the provided data. Always tune carefully and check string tension to avoid damage.

Tuning Notes

• String 6: G1
• String 5: A2# (Bb2)
• String 4: C3# (Db3)
• String 3: E2
• String 2: G2
• String 1: A3# (Bb3)