The Favio Salas Tuning is an adventurous and highly unconventional setup for the guitar, explicitly designed for experimental music. This tuning deviates significantly from standard EADGBe, creating a wide sonic landscape with deep bass and brightly voiced higher strings.

Verbal Analysis

This tuning offers a truly distinctive sonic character. With its two lowest strings tuned very deep to B1 and E2, it provides a resonant, almost baritone-like foundation. The most striking feature is the immense leap in pitch between the 4th string (B2) and the 3rd string (F4#), spanning over two octaves plus a tritone. This creates a dramatic separation, allowing for rich, droning basslines while simultaneously providing a canvas for high, shimmering harmonies or melodic lines on the upper strings. The overall feel is one of spaciousness and tension, perfect for creating atmospheric soundscapes, complex arpeggios, or exploring non-traditional harmonic structures. It's a tuning that encourages thoughtful exploration rather than relying on conventional chord shapes.

Technical Analysis

The open string notes for this tuning are B1-E2-B2-F4#-A4#-D5#. Let's examine the intervals between adjacent strings, from lowest to highest:

• String 6 (B1) to String 5 (E2): A Perfect 4th (5 semitones). This creates a strong, fundamental bass interval.
• String 5 (E2) to String 4 (B2): A Perfect 5th (7 semitones). This further solidifies the low-end power, establishing a clear root and fifth relationship with the 6th string.
• String 4 (B2) to String 3 (F4#): This is a compound interval, specifically a Compound Augmented 4th or Tritone plus two octaves (B2 to F#4 = 24 semitones for two octaves plus 6 semitones for the tritone = 30 semitones). This is the most dramatic interval, intentionally breaking typical guitar voicings and creating a vast chasm in the tuning.
• String 3 (F4#) to String 2 (A4#): A Major 3rd (4 semitones). A consonant, melodic interval on the higher register.
• String 2 (A4#) to String 1 (D5#): A Perfect 4th (5 semitones). Another solid interval, providing a familiar feel on the uppermost strings, somewhat reminiscent of standard tuning's G-B-E.

The open strings themselves form a complex chord: B, E, B, F#, A#, D#. When analyzed, the unique notes present are B, D#, E, F#, A#. This cluster can be interpreted as a B Major 7th chord with an added 11th (Bmaj7add11). This chord is rich and somewhat dissonant, perfect for the stated experimental purpose. The vast gap between the 4th and 3rd strings means that traditional barre chords and many common chord shapes will be largely unplayable across all strings. Instead, this tuning encourages two- or three-string voicings, drone harmonies, and a more open, arpeggiated approach. It opens up possibilities for unique fingerings that leverage the vast pitch range for rich, expansive textures, especially by utilizing the low B and E as sustained drones under melodies on the higher strings.

How to Tune

To achieve the Favio Salas Tuning from standard EADGBe, follow these precise steps:

• String 6 (Low E): Tune down 5 semitones from E to B1. Note: Tuning down 5 semitones (a perfect 4th) is a significant change in tension. For optimal playability and tone, consider using a heavier gauge string for the low E.
• String 5 (A): Tune down 5 semitones from A to E2. Note: Tuning down 5 semitones (a perfect 4th) is a significant change in tension. For optimal playability and tone, consider using a heavier gauge string for the A string.
• String 4 (D): Tune down 3 semitones from D to B2.
• String 3 (G): Tune down 1 semitone from G to F4#.
• String 2 (B): Tune down 1 semitone from B to A4#.
• String 1 (High E): Tune down 1 semitone from E to D5#.

Open String Notes:

• String 6: B1
• String 5: E2
• String 4: B2
• String 3: F4#
• String 2: A4#
• String 1: D5#