Tuning Overview: Major Thirds

This tuning, despite its name, presents a unique and unconventional approach to guitar setup. Described as "the most popular major-thirds tuning, used by jazz-guitarists Ralph Patt and Ole Kirkeby," its actual open string notes reveal a complex and non-standard interval structure. While a true major-thirds tuning features consistent major third intervals between all adjacent strings, this specific iteration deviates significantly, creating an intriguing soundscape.

Technical Analysis

The open string notes, from the lowest pitch string (String 6) to the highest pitch string (String 1), are:

• String 6: G#3
• String 5: C3
• String 4: E3
• String 3: G#4
• String 2: C4
• String 1: E4

Analyzing the intervals between adjacent strings reveals the following:

• String 6 (G#3) to String 5 (C3): A descending interval of 4 semitones (a Major Third down). This means String 5 is tuned lower in pitch than String 6, which is highly unusual for standard guitar string order.
• String 5 (C3) to String 4 (E3): An ascending Major Third (+4 semitones).
• String 4 (E3) to String 3 (G#4): An ascending Octave plus Major Third (+17 semitones).
• String 3 (G#4) to String 2 (C4): A descending interval of 9 semitones (a Major Sixth down). Again, String 2 is tuned significantly lower than String 3.
• String 2 (C4) to String 1 (E4): An ascending Major Third (+4 semitones).

Despite being named "Major Thirds," this tuning does not maintain a consistent major third interval across all adjacent strings, especially due to the descending pitches between String 6 and String 5, and String 3 and String 2. This structure is very different from traditional major thirds tunings which are designed for symmetrical chord shapes and an ascending pitch order.

Chordal Implications and Playability

When the open strings are ordered by pitch (C3, E3, G#3, C4, E4, G#4), they collectively form a C Augmented triad (C-E-G#) spread across several octaves. This means that an open, resonant C Augmented sound will be very prominent. While this could be inspiring for specific harmonic textures and experimental music, forming conventional major or minor chords will be challenging due to the irregular string intervals and the non-ascending pitch order on certain string pairs.

Players would need to re-learn most chord shapes, focusing on fingerings that accommodate the unique interval structure. This tuning might encourage linear melodic playing or exploration of arpeggios that emphasize the augmented sound, rather than traditional block chord strumming. It's a tuning that demands a fresh perspective and rewards experimentation.

How to Tune

To achieve this unique tuning, adjust each string from its standard EADGBe position according to the following instructions. Please note the significant upward movements for the lower strings.

• String 6 (Low E) to G#3: Tune up 4 semitones. Caution: Tuning up 4 semitones is a significant adjustment. Consider using a lighter gauge string for String 6 to prevent excessive tension or breakage.
• String 5 (A) to C3: Tune up 3 semitones. Caution: Tuning up 3 semitones is a notable adjustment; proceed with care to avoid string breakage.
• String 4 (D) to E3: Tune up 2 semitones.
• String 3 (G) to G#4: Tune up 1 semitone.
• String 2 (B) to C4: Tune up 1 semitone.
• String 1 (High E) to E4: Keep as is; no change (0 semitones).

Always tune carefully and incrementally to avoid over-tightening your strings or damaging your instrument. Be especially mindful of the upward tension on the lower gauge strings.

String 6: G3#

String 5: C3

String 4: E3

String 3: G4#

String 2: C4

String 1: E4