Verbal Analysis

This tuning, officially named "A# F# C# F A# C# (Alternate Tuning)", as described, is designed to unlock "certain chords or new sounds." It offers a deep, resonant foundation with the lowest string tuned to A#2, creating a powerful presence. The overall sound profile is rich and complex, leaning towards mysterious, melancholic, or even avant-garde due to the unique combination of intervals. The blend of major thirds, perfect fifths, a prominent tritone (A# to F), and a surprising descending interval between middle strings offers a fresh palette for experimental music, film scoring, or creating unique melodic and harmonic textures that are difficult to achieve in standard tuning. The arrangement also features interesting note repetitions across octaves, which can add a shimmering quality to strummed chords and make certain arpeggios very accessible.

Technical Analysis

The tuning notes from the lowest (6th) string to the highest (1st) string are A#2, F#3, C#4, F3, A#4, C#5. Let's analyze the intervals relative to the lowest A#2 string:

• String 6 (A#2): The foundational root note, setting a very deep tone.
• String 5 (F#3): A Major 6th (8 semitones) above A#2.
• String 4 (C#4): A Major 3rd + an octave (15 semitones) above A#2.
• String 3 (F3): A Diminished 5th or Tritone (7 semitones) above A#2. This interval typically creates significant tension and unique harmonic color.
• String 2 (A#4): Exactly two Octaves (24 semitones) above A#2, providing a full, resonant octave above the lowest string.
• String 1 (C#5): A Major 3rd + two octaves (27 semitones) above A#2.

Examining the intervals between adjacent strings reveals the unique character of this tuning:

• A#2 to F#3: Major 6th (8 semitones).
• F#3 to C#4: Perfect 5th (7 semitones).
• C#4 to F3: Major 6th Down (8 semitones down). This is a highly unusual and distinctive interval, where the 3rd string is tuned to a lower note than the 4th string. This specific interval opens up unique voicing and fingerings, allowing for counter-melodies or drones with ease.
• F3 to A#4: Perfect 5th + Octave (17 semitones). This is a very large jump, creating an expansive sound.
• A#4 to C#5: Major 3rd (3 semitones).

Open Chords and Possibilities

The open strings themselves form a complex chord: A#, F#, C#, F (with A# and C# repeated in higher octaves). This contains an A# diminished triad (A#, C#, F) with an added Major 6th (F#). This creates a dissonant yet rich open chord, perfect for evocative drones, cinematic soundscapes, or unexpected harmonic movements. The presence of the F# also hints at F# Major possibilities.

The repeating A# and C# (Major 3rd) across different octaves means that harmonizing melodies in major thirds will be relatively straightforward. The distinct Perfect 5th intervals (F#3-C#4 and F3-A#4) mean that power chord shapes, though potentially shifting roots, will be readily adaptable. The unusual Major 6th down interval between the 4th and 3rd strings offers exceptional opportunities for creating suspended or open voicings that are impractical in standard tuning, facilitating unique bass-line melodies or chord inversions. This tuning is ideal for players looking to break free from standard chord voicings and explore new sonic territories.

How to Tune

To achieve this tuning, we recommend starting with your guitar in standard EADGBe tuning and adjusting each string as follows:

• 6th String (Low E): Tune down 6 semitones to A#2. Note: Tuning down 6 semitones is a significant adjustment; using a heavier gauge string is advised for optimal tension and tone.
• 5th String (A): Tune down 3 semitones to F#3.
• 4th String (D): Tune down 1 semitone to C#4.
• 3rd String (G): Tune down 2 semitones to F3.
• 2nd String (B): Tune down 1 semitone to A#4.
• 1st String (High E): Tune down 3 semitones to C#5.

String 6: A#2

String 5: F#3

String 4: C#4

String 3: F3

String 2: A#4

String 1: C#5