Welcome to the analysis of a unique and powerful guitar tuning, aptly named "Drop C# ish". This tuning is particularly crafted for the rhythm guitar part of Paramore's "Last Hope", designed to deliver a specific sonic landscape and facilitate particular chord voicings.

Verbal Analysis: The Soundscape

At its core, "Drop C# ish" plunges the guitar into a lower register, setting a foundation for heavy, resonant tones typical of modern rock and alternative genres. The "Drop" in its name signifies the significantly lowered sixth string, which anchors the tuning in C# and provides a deep, growling bottom end. What makes this tuning "ish" is its unique departure from a standard Drop C# pattern (which would typically be C# G# C# F# A# D#). Instead, it sculpts a more intricate sound, particularly with its higher strings.

The tuning's design highlights a clever use of the two highest strings (A#4 and C4) as "pedal notes in F-shaped chords on frets 4, 9 and 11, similar to the Rush chord." This suggests that the tuning isn't primarily designed for open strumming of conventional chords, but rather for specific, powerful riffing and intricate voicings higher up the neck. The minor third interval between the open A# and C strings (string 2 and 1) provides a distinctive harmonic color that can be easily incorporated into moving shapes, creating a sustained or ringing quality characteristic of pedal tones. This allows for complex melodic and harmonic interplay over a heavy, driving lower register.

Technical Analysis: Intervals and Open Voicings

From thickest to thinnest, the open notes are C#3, F#3, B2, E3, A4#, C4. Let's examine the intervals:

• String 6 (C#3) to String 5 (F#3): A Perfect 4th (7 semitones). This wide interval on the lower strings is excellent for power chords, allowing for easy root-fifth voicings (e.g., C#-F# at the same fret, or standard power chord shapes relative to the C# root).
• String 5 (F#3) to String 4 (B2): A Perfect 4th (7 semitones). This continues the power chord friendly interval.
• String 4 (B2) to String 3 (E3): A Perfect 4th (7 semitones). The bottom four strings (C#, F#, B, E) are all tuned a perfect fourth apart, creating a consistent, bass-heavy platform. This is highly advantageous for movable power chords and riffs that require a strong, unambiguous low end. Barring any fret across these four strings will produce a sus4 type chord (e.g., a C#sus4 if barred at the open position).
• String 3 (E3) to String 2 (A4#): An Augmented 4th / Tritone (6 semitones) and an octave jump for A#. This is the most unusual interval, creating a wide, dissonant, and bright interval from E3 to A#4, which can be exploited for tension and unique voicings.
• String 2 (A4#) to String 1 (C4): A Minor 3rd (3 semitones). This interval is crucial to the described "pedal notes" concept. Open, these two strings form an A# minor 3rd, which can be transposed up the neck to create various minor and major thirds within F-shaped chord structures, providing melodic stability or harmonic tension as desired. For example, moving this shape up to the 4th fret (C# on A# string, E on C string) or 9th fret (G# on A# string, B on C string) or 11th fret (A# on A# string, C# on C string) will yield specific minor third intervals that can be sustained or used as melodic anchors.

While not an open chord tuning in the traditional sense, the consistent perfect fourths on the lower strings make it ideal for driving, heavy rhythm guitar parts. The distinct interval on the higher strings allows for specific, ringing melodic lines or the mentioned "Rush chord" inspired voicings, creating a dynamic contrast between the dense low end and the shimmering top.

How to Tune Your Guitar

To achieve the "Drop C# ish" tuning from standard EADGBe, follow these string movements carefully:

• String 6 (Low E): Tune down 3 semitones to C#3. This shifts the lowest note significantly lower.
• String 5 (A): Tune down 3 semitones to F#3.
• String 4 (D): Tune down 3 semitones to B2.
• String 3 (G): Tune down 3 semitones to E3.
• String 2 (B): Tune down 1 semitone to A4#. Note that while this is only a single semitone adjustment from a standard B string (B3 would result in A#3), the target pitch A#4 implies a significantly higher tension or an octave jump. Please ensure your string gauge can safely handle the tension required for A#4 if your default B string is B3.
• String 1 (High E): Tune down 4 semitones to C4. This is a notable drop. We advise caution when tuning down 4 or more semitones, as the slackening of the string can affect playability and intonation. For optimal performance, a different gauge string might be advised for this string to maintain proper tension and tone.

As a general guideline, tuning up or down more than 4 semitones from standard can put unusual stress on your strings and guitar neck, and often results in poor intonation or tone. For such significant changes, especially on string 1, consider using a different string gauge to optimize tension and playability.

String 6 (Low E): C3#

String 5 (A): F3#

String 4 (D): B2

String 3 (G): E3

String 2 (B): A4#

String 1 (High E): C4