Verbal Analysis

This unique open tuning creates a deeply resonant and sophisticated soundscape, reflecting the original description's hint at a 'good man make good song' style, often associated with artists like Sun Kil Moon. With all strings significantly detuned from standard, it offers a remarkably relaxed string tension and a rich, slightly melancholic voice.

The open strings beautifully articulate an F Major 7th chord with an 'A' in the bass (A-C-E-F). This imbues the tuning with a pensive, yet harmonious quality, making it ideal for fingerstyle arpeggios, expressive melodies, and atmospheric textures. The wide range, from a low A1 to a high A3, provides a full and enveloping sound, perfect for creating drones and lush harmonic backdrops.

While standard chord shapes will mostly be re-voiced, the open Fmaj7 chord itself is immediately available, allowing for exploration of its inversions and extensions by simply moving this shape up the neck. For instance, barring at the first fret would yield a Bbmaj7/F, and at the third fret, a Dm(add b6)/A or Bbmaj7/D. The tight minor 2nd interval between the 3rd and 2nd strings (E3-F3) can create interesting dissonances or smooth voice leading depending on how it's approached, adding to the tuning's distinct character.

Technical Analysis

The tuning lays out as follows, from lowest to highest string: A1 - E2 - C3 - E3 - F3 - A3.

• The open strings form an F Major 7th chord (F-A-C-E) with the lowest string acting as the root 'A', making it an Fmaj7/A voicing. Alternatively, it can be viewed as an A minor chord (A-C-E) with an added flattened 6th (F), giving it an Am(add b6) quality.
• Intervals from low to high are: Perfect 4th (A1-E2), Minor 3rd (E2-C3), Major 3rd (C3-E3), Minor 2nd (E3-F3), and Major 3rd (F3-A3). The inclusion of a minor 2nd (semitone) interval between the 3rd and 2nd strings (E3 and F3) is particularly noteworthy, allowing for close harmonies and potential for rich, clustered voicings.
• The tuning spans a full two octaves from the low A1 to the high A3, providing a broad sonic palette.
• All strings are tuned down significantly from standard EADGBe, ranging from 2 to 7 semitones. This substantial detuning results in very low string tension, which can enhance playability for fingerstyle but also requires careful consideration for string gauge to avoid buzzing or intonation issues.

Tuning Notes

Here are the target notes for each string:

• String 6 (Low E): A1
• String 5 (A): E2
• String 4 (D): C3
• String 3 (G): E3
• String 2 (B): F3
• String 1 (High E): A3

How to Tune

To achieve this tuning from standard EADGBe, follow these steps:

• String 6 (Low E): Tune down 7 semitones from its standard E2 pitch to A1.
• String 5 (A): Tune down 5 semitones from its standard A2 pitch to E2.
• String 4 (D): Tune down 2 semitones from its standard D3 pitch to C3.
• String 3 (G): Tune down 3 semitones from its standard G3 pitch to E3.
• String 2 (B): Tune down 6 semitones from its standard B3 pitch to F3.
• String 1 (High E): Tune down 7 semitones from its standard E4 pitch to A3.

Important Note: Four of these strings (String 6, 5, 2, and 1) require a significant tuning down of 5 or more semitones. When tuning down this extensively, it is highly recommended to use a heavier gauge string set to maintain optimal playability, prevent buzzing, and ensure proper intonation. Tuning down by more than 4 semitones can cause strings to become overly slack with a standard gauge, potentially impacting tone and playability.