Verbal and Technical Analysis: G Lydian Open Chord

This unique tuning, which you've affectionately described as an experimentation that 'quite liked it' and 'probably been used somewhere before,' presents an intriguing harmonic landscape. At first glance, the open strings (G B E F# A C#) don't form a conventional major or minor triad, which hints at its experimental nature. However, a deeper look reveals a distinct Lydian quality.

The open strings span a wide range, starting with G2 on the low E string and ascending to C#5 on the high E string. The intervals between the strings are quite varied: a Major Third (G-B), a Perfect Fourth (B-E), a Major Second (E-F#), a Minor Third (F#-A), and a Major Third (A-C#). This diverse set of intervals avoids common open string voicings, encouraging fresh melodic and harmonic ideas.

Technically, the collection of notes G, A, B, C#, E, F# strongly suggests a G Lydian mode (the fourth mode of the D Major scale). The absence of a perfect fourth (C) and the presence of a sharpened fourth (C#) immediately lend a bright, almost ethereal or 'dreamy' quality to the tuning. This makes it particularly suitable for ambient music, jazz-influenced chords, or expansive soundscapes.

Open Chords and Reachable Shapes:

• While a full, traditional open chord isn't immediately present, the open strings themselves form a rich, resonant G Lydian sonority. Simply strumming all open strings will yield this bright, unresolved, yet pleasing sound.
• Partial Chords: The lowest three strings (G-B-E) form a G Major triad with an added E, which could be seen as an Em7/G or Gmaj(add11) without the 5th, offering a full, rich low-end.
• The higher three strings (F#-A-C#) form an F# Minor triad, providing a darker contrast or a strong leading tone function if paired with the G.
• Lydian Harmony: Chords built on the open strings or simple fretted shapes will naturally take on a Lydian character. For example, by fretting a D (second fret on the G string) you get G-B-D-F#-A-C#, creating a dense Gmaj13(#11) chord, which is very common in jazz.
• Expansive Voicings: Due to the varied intervals, simple fingerings across multiple strings will produce wide, open voicings that are often difficult to achieve in standard tuning. Experiment with two- or three-finger chords across non-adjacent strings for unique harmonic textures.

This tuning invites exploration beyond conventional chord shapes, encouraging the player to listen to the unique intervallic relationships and discover new harmonic possibilities. Its Lydian flavor makes it an excellent choice for compositions requiring a bright, optimistic, or even majestic sound.

How to Tune

To achieve the G Lydian Open Chord tuning from standard E Standard tuning (E-A-D-G-B-E), follow these precise string movements:

• 6th String (Low E): Tune up 3 semitones from E2 to G2. While within safe limits, tuning up 3 semitones can significantly increase string tension; always tune slowly and carefully.
• 5th String (A): Tune up 2 semitones from A2 to B2.
• 4th String (D): Tune up 2 semitones from D3 to E3.
• 3rd String (G): Tune down 1 semitone from G4 to F#4.
• 2nd String (B): Tune down 2 semitones from B3 to A3.
• 1st String (High E): Tune down 3 semitones from E5 to C#5.

Important Note: The recommended maximum safe adjustment for standard gauge strings is generally around 4 semitones up or down. None of these individual string adjustments exceed that, but the collective change in tension across all strings is significant. If you plan to use this tuning frequently or for extended periods, it's advisable to monitor your guitar's neck relief and intonation. For tunings exceeding 4 semitones up or down, a different string gauge would typically be advised for optimal performance and guitar health, but that is not strictly necessary for this particular tuning.

Tuning Notes

Here are the specific notes for each string in this tuning, from thickest to thinnest:

• 6th String: G2
• 5th String: B2
• 4th String: E3
• 3rd String: F#4
• 2nd String: A3
• 1st String: C#5