Verbal Analysis

This unique tuning, known as "sumac - thorn in the lions paw" and famously used in thorn in the lions paw by sumac, plunges the guitar into a realm of deep resonance and open, suspended harmonies. With its lowest string dropped significantly to A1, it provides a massive, guttural foundation that feels both heavy and expansive. The overall sound is characterized by open intervals, especially the prominent B and F# notes ringing through the higher strings, creating a drone-like quality with a hint of melodic tension. It evokes a feeling of vast, desolate landscapes or immense, slow-moving power.

The tuning encourages an experimental approach, moving beyond conventional chord shapes. Open strumming yields a rich, ambiguous sound that can be neither strictly major nor minor, leaning into modal territories. It's ideal for creating massive, sustained chords, intricate arpeggios that utilize the open string relationships, or riffing with a focus on single-note lines against the droning open strings. The wide interval between the lowest A and the higher F# and B notes offers a broad sonic palette for heavy, atmospheric, or even dissonant music. You might find yourself gravitating towards single-finger power chords on the lower strings, or exploring two-note voicings that highlight the tuning's unique intervals.

Technical Analysis

The open notes for this Guitar tuning are A1-F#3-B2-D3-F#4-B3 (low to high). When arranged in ascending order, the fundamental notes are A, B, D, F#, with octaves of B and F# further up. This creates an open chord which is not a standard triad, but rather a rich A-based cluster (A-B-D-F#-B-F#). This voicing can be interpreted as an A major scale fragment containing the root (A), major second (B), perfect fourth (D), and major sixth (F#). The absence of a traditional third (C or C#) gives it a suspended, modal quality, often associated with rock and metal for its powerful, non-committal yet resonant sound.

Open Chords & Reachable Shapes:

• Open Strings (A-F#-B-D-F#-B): This forms a powerful, resonant, and somewhat ambiguous chord. It has a strong A root and a bright, open character due to the 2nds and 6ths. It's excellent for heavy, droning passages.
• Barre Chords: Barring across any single fret will create interesting voicings. For example, a 2nd fret barre would yield B-G#-C#-E-G#-C#, essentially a B major type voicing with an open, extended feel. Similarly, barring at the 5th fret creates D-A#-F#-G-A#-G, a complex D-based chord.
• Two-String Power Chords: The low A (String 6) and B (String 4) make for easy root-and-major-second intervals, useful for heavy, droning power chords by simply fretting the 6th string and letting the 4th (B) ring open, or vice-versa. Fret the 6th string at the 2nd fret (B) and let the 5th string (F#) ring open for a B-F# interval.
• Octave Shapes: The repeated B and F# notes across different octaves (B2, B3 and F#3, F#4) allow for easy octave playing and harmonized melodies, adding depth and thickness to riffs.

How to Tune

To achieve this distinctive tuning, start from standard EADGBe tuning. Please note the significant drops on most strings. For tunings exceeding -4 or +4 semitones, it is generally advised to consider using a different gauge string to maintain optimal tension and tone.

• String 6 (Low E): Tune down 7 semitones from E to A1. This is a very significant drop, nearly a full octave. A heavier gauge string is highly recommended.
• String 5 (A):
  Tune down 3 semitones from A to F#3.
• String 4 (D):
  Tune down 3 semitones from D to B2.
• String 3 (G):
  Tune down 5 semitones from G to D3. This is a considerable drop; a heavier gauge string is advised.
• String 2 (B):
  Tune down 5 semitones from B to F#4. This is a considerable drop; a heavier gauge string is advised.
• String 1 (High E):
  Tune down 5 semitones from E to B3. This is a considerable drop; a heavier gauge string is advised.