This is a unique and highly resonant guitar tuning, specifically tailored for playing the song "Seeing Angels" by the John Butler Trio. It creates a vast and distinctive sonic landscape, characteristic of his percussive and melodic style.

Verbal Analysis

The open strings of this tuning (B-F#-C#-F#-B-F#) immediately present a rich and full sound, dominated by the notes B and F# across a wide range of octaves. This structure strongly suggests a B minor or B Mixolydian tonality, often associated with bluesy, folk, and progressive acoustic genres. The multiple F# and B notes provide a robust harmonic foundation, ideal for droning, percussive rhythms, and intricate fingerstyle patterns where open string resonance is key. The open string arrangement effectively forms a Bsus2 or B5 chord with an added C# on the 4th string, giving it a bright, slightly suspended, and very full character. This makes it particularly effective for arpeggiated figures. Basic chord shapes around B will be readily accessible, and the highly unconventional intervals between strings will inspire unique voicings and melodic ideas not typically found in standard tunings.

Technical Analysis

The open tuning notes are B1-F#3-C#4-F#4-B2-F#5, from the lowest (6th) string to the highest (1st) string. This is a highly unconventional and wide-ranging tuning across the guitar's register. Let's examine the intervals between adjacent open strings:

• 6th string (B1) to 5th string (F#3): This is a very wide interval spanning two octaves and a perfect fifth up (31 semitones). This creates a deep, resonant bass foundation with a surprisingly high fifth, adding to the tuning's unique depth.
• 5th string (F#3) to 4th string (C#4): An interval of a perfect fifth up, but also an octave higher than a standard fifth (19 semitones up from F#3). This continues the generally ascending pattern.
• 4th string (C#4) to 3rd string (F#4): A standard perfect fourth up (5 semitones). This is a common interval found in many open tunings.
• 3rd string (F#4) to 2nd string (B2): This is a dramatic drop of two octaves and a perfect fourth down (17 semitones down). The B2 is significantly lower than the F#4, creating an unexpected dip in pitch that forms a unique and striking character within the tuning's voicings.
• 2nd string (B2) to 1st string (F#5): Another extremely wide interval, spanning three octaves and a perfect fifth up (43 semitones up). This brings the highest string to a very piercing and bright register, creating a vast dynamic and pitch range within the open strings alone.

The tuning prominently features repeated F# notes (F#3, F#4, F#5) and B notes (B1, B2), creating a rich, layered soundscape. The C# adds a major second or suspended fourth quality to the underlying B and F# framework. The extreme shifts in octave for the 6th, 5th, 2nd, and 1st strings are particularly noteworthy, creating a vast range and contributing significantly to the unique soundscape of this tuning. This highly unconventional string arrangement will undoubtedly lead to unique chord voicings and melodic possibilities.

How to Tune

This tuning involves several significant changes from standard E Standard tuning, with some strings requiring extreme shifts in pitch. For strings requiring drops exceeding 4 semitones or raises exceeding 4 semitones, heavier gauge strings are strongly advised to maintain proper tension, intonation, and prevent buzzing or potential string breakage. Always tune slowly and carefully, especially with large pitch changes.

• 6th String (Lowest): Tune down 5 semitones. This is a substantial drop. It is recommended to use a heavier gauge string for optimal performance and stability.
• 5th String: Tune down 3 semitones.
• 4th String: Tune down 1 semitone.
• 3rd String: Tune down 1 semitone.
• 2nd String: Tune down 12 semitones (a full octave). This is an extreme change. A significantly heavier gauge string is essential for this string, and extreme caution should be exercised during tuning to prevent damage.
• 1st String (Highest): Tune up 2 semitones. Proceed with care, although this change is generally less problematic than large downward shifts.

The open notes for this tuning, from the thickest (6th) string to the thinnest (1st) string, are:

• 6th String: B1
• 5th String: F#3
• 4th String: C#4
• 3rd String: F#4
• 2nd String: B2
• 1st String: F#5