The tuning presented, named 'Middle Eastern-Style Tuning for Metal', draws significant inspiration from traditional Arabian Oud tunings, specifically mentioning C2, F2, A2, D3, G3, C4 as a reference. However, it notably adapts this foundation to achieve a distinctive soundscape tailored for a heavier, 'Metal' aesthetic. While retaining the F2, D3, G3, and C4 notes of the referenced Oud tuning, this rendition replaces the lowest C2 with an A#2 and the A2 with an A#3. This strategic alteration effectively shifts the overall tonal center and introduces unique harmonic possibilities, particularly in the lower register. The result is a powerful blend of exoticism and aggression.

Verbal Analysis

This tuning immediately transports the listener to a realm of dark, resonant, and often melancholic sound, characteristic of Middle Eastern music, but imbued with an underlying aggression that makes it ideal for heavy genres. The open strings offer a droning quality, perfect for sustained, atmospheric passages, while simultaneously providing a canvas for intricate, scale-based melodies. The unique and wide intervals between strings encourage fresh exploration of the fretboard, moving away from conventional guitar shapes and fostering a more 'oud-like' playing style, where single notes and specific intervals are often emphasized. This makes it a fascinating choice for musicians looking to inject an exotic, yet powerful, flavor into their metal compositions.

Technical Analysis

The open strings are tuned to A#2, F2, A#3, D3, G3, C4, from the lowest (String 6) to the highest (String 1). Let's examine the intervals between adjacent strings:

• String 6 (A#2) to String 5 (F2): This interval is a Perfect 4th descending (or F2 is a Perfect 5th below A#2). This wide interval on the lowest strings creates a strong, resonant base.
• String 5 (F2) to String 4 (A#3): This is a compound interval, specifically an Augmented 4th (tritone) plus an octave up (F2 to A#2 + Octave). This wide and harmonically tense interval between adjacent strings is a key characteristic of the tuning, offering significant harmonic tension and sonic depth.
• String 4 (A#3) to String 3 (D3): Similar to the lowest strings, this is a Major 3rd descending (or D3 is a Perfect 5th below A#3).
• String 3 (D3) to String 2 (G3): A classic Perfect 4th ascending. This, along with the subsequent string, offers a more familiar interval structure for melodic playing.
• String 2 (G3) to String 1 (C4): Another Perfect 4th ascending, completing a series of familiar intervals on the higher strings.

Implied Open Chords & Accessible Shapes

The open strings (A#2, F2, A#3, D3, G3, C4) contain the notes F, G, A# (which is enharmonically Bb), C, and D across different octaves. This collection of pitches strongly implies a Bb Major harmony (Bb-D-F) with additional G and C. When played open, the tuning can evoke a rich Bbmaj6/9sus4 or G minor 7(add11) sound, depending on the tonal center you choose to emphasize. The prominent A# (Bb) notes on the lowest (String 6) and fourth (String 4) strings, alongside F2 on String 5, create powerful, droning Bb power chords and resonant open string voicings. The top three strings (D3, G3, C4) form a Dsus4 chord (D-G-C), providing a more conventional perfect fourth stacking. This allows for easier adaptation of familiar melodic runs and chord shapes in the upper register, offering a contrasting element to the more unusual lower string intervals. This blend allows for both traditional Middle Eastern melodic patterns and modern heavy riffing, making it highly versatile for its intended genre.

How to Tune

Achieving this tuning requires significant tension changes across all strings. Please proceed with caution and consider the string gauge recommendations:

• String 6: Tune down 6 semitones to A#2. Caution: This is a substantial drop in tension. A heavier gauge string is strongly advised to maintain proper playability and prevent excessive floppiness.
• String 5: Tune down 4 semitones to F2. Caution: This is a significant drop in tension. Consider using a heavier gauge string.
• String 4: Tune down 4 semitones to A#3. Caution: This is a significant drop in tension. Consider using a heavier gauge string.
• String 3: Tune down 5 semitones to D3. Caution: This is a substantial drop in tension. A heavier gauge string is strongly advised.
• String 2: Tune down 4 semitones to G3. Caution: This is a significant drop in tension. Consider using a heavier gauge string.
• String 1: Tune down 4 semitones to C4. Caution: This is a significant drop in tension. Consider using a heavier gauge string.

String 6: The lowest string is tuned to A#2, providing a deep, resonant foundation for the tuning.

String 5: Tuned to F2, creating a powerful perfect fourth interval with the lowest string (when considering F2 as the lower note).

String 4: Tuned to A#3, an octave above String 6, which adds significant depth and harmonic richness through octave doubling.

String 3: Tuned to D3, offering a major third relationship to the lowest A# when considering open chord possibilities, contributing to a Bb major tonality.

String 2: Tuned to G3, continuing a sequence of perfect fourths with the higher strings, making it somewhat familiar for melodic exploration.

String 1: The highest string is tuned to C4, completing the upper perfect fourth interval, providing clarity in the high register.