The 'facgce down 2 steps' tuning is a profoundly downtuned and highly unconventional setup for the guitar, specifically tailored for experimental, heavy, or emotionally charged genres as suggested by its description. It takes the instrument into a very low register, creating a dark and often dissonant soundscape. This tuning will feel significantly slacker than standard, and its non-linear string intervals encourage unique chord voicings and melodic approaches.

Technical Analysis

This tuning sets the standard 6-string guitar as follows:

• 6th String (Low E): C3#
• 5th String (A): F2
• 4th String (D): G3#
• 3rd String (G): D4#
• 2nd String (B): G4#
• 1st String (High E): B3

The open strings, when arranged from lowest to highest pitch, are: F2, C#3, G#3, B3, D#4, G#4. This reveals a tuning with considerable jumps and non-standard intervals between adjacent strings:

• 6th (C#3) to 5th (F2): A descending Major 6th (8 semitones down) – a very wide interval, placing the 5th string significantly lower than the 6th.
• 5th (F2) to 4th (G#3): An ascending Octave + Major 3rd (15 semitones up) – a massive jump in pitch.
• 4th (G#3) to 3rd (D#4): An ascending Perfect 5th (7 semitones up).
• 3rd (D#4) to 2nd (G#4): An ascending Perfect 4th (5 semitones up).
• 2nd (G#4) to 1st (B3): A descending Major 6th (9 semitones down) – another significant drop in pitch.

This unusual interval structure suggests that the tuning is not designed for conventional strumming of open chords, but rather for specific voicings, arpeggios, and heavy, dissonant riffs.

Open Chords & Voicings

Analyzing the open notes (F2, C#3, G#3, B3, D#4, G#4):

• The lowest three strings (F2, C#3, G#3) can be interpreted as an F minor triad (F - Ab/G# - C#) or an Ab major triad (Ab/G# - C#/Db - F). This provides a dark, somewhat melancholic foundation.
• The highest three strings (B3, D#4, G#4) form a clear B Major triad (B - D# - F#/G# is a raised 5th, or G# as an added 6th/13th). Specifically, B3, D#4, G#4 functions as a B Major chord with an added G# (a B6 if G# is viewed as the 13th). If taken as B-D#-F#, the G# replaces F#. This is an interesting voicing.
• When all open strings are played together, the combined notes are F, C#, G#, B, D#, G#. This creates a highly dissonant cluster, rich in minor 3rds and augmented/diminished intervals. The clash between the F minor-esque lower strings and the B major-esque upper strings would be a signature sound of this tuning.

This tuning lends itself to:

• Heavy, Dissonant Riffs: The extremely low register and close, clashing intervals are ideal for aggressive, crushing power chords and single-note lines.
• Atmospheric Textures: The wide and irregular intervals between strings can create sprawling, unsettling arpeggios and unique sonic textures, perfect for intros or breakdowns.
• Unique Chord Shapes: Players will need to discover new fingerings for familiar chord qualities. The significant drops and rises between strings will lead to very open and stretched voicings that are difficult or impossible in standard tuning.

How to Tune

To achieve the 'facgce down 2 steps' tuning from standard EADGBe, follow these steps:

• 6th String (Low E): Tune down 3 semitones to C3#.
• 5th String (A): Tune down 4 semitones to F2.
• 4th String (D): Tune down 6 semitones to G3#.
• 3rd String (G): Tune down 4 semitones to D4#.
• 2nd String (B): Tune down 3 semitones to G4#.
• 1st String (High E): Tune down 5 semitones to B3.

Important Note on String Gauge: Given the significant drop in pitch for all strings, particularly the 4th (-6 semitones), 1st (-5 semitones), 5th (-4 semitones) and 3rd (-4 semitones) strings, a heavier gauge string set is strongly advised. Tuning down by 4 or more semitones can cause strings to become overly loose, leading to poor intonation, fret buzz, and a muddy tone. Heavier strings will help maintain tension and clarity at these lower pitches.