Eminor11 Tuning Analysis

This unique tuning, aptly named "Eminor11" by its creator, aims to blend elements from standard and baritone tunings while creating a distinct sonic landscape. The creator's stated goal was to integrate a low G and an F# while maintaining familiar intervals, except for a "heavy" 6th string. However, a detailed look at the resulting notes reveals a truly custom and unconventional setup, offering a vast range from a very deep bass to a bright treble, with some surprising intervallic relationships.

Technical Breakdown:

• String 6 (Low G): Tuned to G1, this is an exceptionally low note, providing a foundational, resonant bass more than an octave and a half below standard E2.
• String 5 (E String): Tuned to E2, matching the standard 6th string, it maintains a familiar anchor point in the mid-bass range.
• String 4 (A String): Tuned to A2, also a familiar perfect fourth interval above the 5th string, continuing a standard-like pattern here.
• String 3 (D String): Tuned to D3, another perfect fourth above the 4th string, solidifying a run of three perfect fourths (E2-A2-D3).
• String 2 (F# String): Tuned to F4#. This is a very high note for the second string, creating a massive Major 10th interval from the D3 (String 3). This bright, sharp note introduces significant tension and harmonic contrast.
• String 1 (High B): Tuned to B3. Intriguingly, this string is tuned lower than the second string (F#4), forming a descending minor 6th interval from the second string. This inverted interval (F#4 down to B3) is highly unusual and will create unique voicings and playing challenges/opportunities.

Open String Chords & Harmonic Potential:

The open strings G1-E2-A2-D3-F#4-B3 present a rich, somewhat dissonant, yet potentially very musical palette. The combined notes G, A, B, D, E, F# essentially form a G Lydian scale (G A B C# D E F#) missing the C#, or a G Major scale (G A B C D E F#) without the C. It contains the notes for a G Major 13th chord (G B D F# A E) without the 11th (C), making it a Gmaj13(no C). The E-A-D on strings 5-3 forms a strong power chord base or a fragment of an A minor or D major chord. The dramatic leap from D3 to F#4, followed by the drop to B3, will offer unique sonic textures for arpeggios and open chord voicings. Strumming all open strings will yield a massive, resonant, and complex G Major 13th-like sound, ripe for experimentation in genres like jazz, progressive rock, or ambient music.

How to Tune:

This tuning requires significant adjustments from standard EADGBe. Exercise caution, especially with large downward movements, as string tension will be greatly reduced.

• String 6 (Low E to G1): Tune down 9 semitones from standard E2 to G1.
• String 5 (A to E2): Tune down 5 semitones from standard A2 to E2.
• String 4 (D to A2): Tune down 5 semitones from standard D3 to A2.
• String 3 (G to D3): Tune down 5 semitones from standard G3 to D3.
• String 2 (B to F#3): Tune down 5 semitones from standard B3 to F#3. (Note: The stated target note for this string in the tuning description is F4#. The provided string movements, however, instruct tuning down to F#3. Please verify your intended target for this string.)
• String 1 (High E to B3): Tune down 5 semitones from standard E4 to B3.

Important Tuning Advisory: All strings in this tuning are adjusted by 5 semitones or more downwards. For optimal playability, tone, and to prevent excessive slack, it is strongly recommended to use a heavier gauge string set specifically designed for significantly dropped tunings.

String 6 (Low G): G1

String 5 (A String): E2

String 4 (D String): A2

String 3 (G String): D3

String 2 (B String): F4#

String 1 (High E): B3