The Jason Christ Tuning: A Modern Fingerstyle Landscape

This unique tuning, described as an 'acoustic percussive finger style modern guitar' setup, transforms the guitar into an instrument capable of producing remarkably rich harmonies and deep, resonant textures. It's a highly customized arrangement that deviates significantly from standard tuning, offering a fresh palette for modern guitarists exploring extended voicings and percussive techniques.

Verbal and Technical Analysis

At its core, the open strings of the Jason Christ tuning (A1 E2 B2 F4# B3 G4#) form an incredibly lush and complex chord. Analyzing the unique notes (A, E, B, F#, G#) reveals an A Major 7th chord with an added 9th (B) and 13th (F#) (Amaj7/9/13). This provides an immediate, full-bodied resonance that is perfect for open string drones, harmonics, and intricate fingerstyle arrangements.

Technically, the tuning exhibits several striking features:

• Deep Foundation: The 6th string tuned down to A1 offers an exceptionally low and powerful bass note, providing a sturdy and resonant foundation for the entire tuning. The 5th string (E2) further extends this low range.
• Wide Interval Jumps: One of the most distinctive characteristics is the enormous interval between the 4th string (B2) and the 3rd string (F#4). This is an octave and a perfect fifth (19 semitones!), creating a dramatic leap in pitch that facilitates harp-like arpeggios and unique harmonic clusters.
• Inverted String Relationship: Unconventionally, the 2nd string (B3) is pitched lower than the 3rd string (F#4). This inversion (the 3rd string is an augmented 4th higher than the 2nd string) creates distinctive voicings and harmonic possibilities that are rarely found in more conventional tunings.
• Extended Harmonic Reach: The G#4 on the 1st string provides a bright, high major seventh that complements the low A, giving the overall chord a shimmering, ethereal quality.

The combination of extremely low bass notes, wide interval jumps, and inverted string relationships makes this tuning ideal for experimental and modern fingerstyle playing, allowing for rich chordal work, percussive elements against open strings, and expansive harmonic exploration. Due to the significant pitch changes, careful consideration of string gauges is recommended to maintain optimal tension and prevent string breakage.

How to Tune

To achieve the Jason Christ tuning, you will perform the following adjustments from standard guitar tuning (E-A-D-G-B-E). Please pay close attention to the semitone movements, and note that for significant drops or increases in pitch, a different string gauge may be advised for optimal playability and string longevity. Movements exceeding 4 semitones up or down often indicate a need for alternative string gauges.

• 6th String (Low E to A1): Tune down 7 semitones to A1. This is a very significant drop, a perfect fifth below standard E. A heavier gauge string is strongly advised for optimal tension and playability.
• 5th String (A to E2): Tune down 5 semitones to E2. This is a substantial drop, and considering a heavier gauge string could be beneficial.
• 4th String (D to B2): Tune down 3 semitones to B2. This minor third drop is generally manageable with standard string gauges.
• 3rd String (G to F#4): Tune down 1 semitone to F#4. While the instructed movement from a potential starting point is small, note that F#4 is considerably higher than a standard 3rd string's G3. Care should be taken to ensure the string can handle this higher target pitch, potentially implying a need for a lighter gauge string if starting from standard G3.
• 2nd String (B to B3): Keep as is; no change (0 semitones) to B3.
• 1st String (High E to G#4): Tune down 8 semitones to G#4. This is a very significant drop in tension relative to the movement. Achieving G#4 at a playable tension from standard E4 (which would be a +3 semitone change) will likely require a different gauge string, or implies an extremely high starting pitch before the 8-semitone drop. A heavier gauge string is strongly advised for this overall range if aiming for optimal tension.

6th String: A1 (An exceptionally low A, providing a deep, resonant bass foundation.)

5th String: E2 (A familiar open E, but an octave lower than standard E string, acting as the perfect fifth to the low A.)

4th String: B2 (A low B, forming a major ninth interval with the 6th string and a perfect fifth with the 5th string.)

3rd String: F#4 (A surprisingly high F#, creating a wide, open interval and harmonic tension with the lower strings, and notably higher than the 2nd string.)

2nd String: B3 (This B sits an octave below the 3rd string's F#4, creating an inverted interval and unique voicing.)

1st String: G#4 (The highest string, forming a major seventh with the low A, and contributing to the rich, extended harmonic character.)