The F# Jazz Suspended tuning (derived from "f sharp minor and then some") is a sophisticated and expressive low-tuned configuration that promises a rich, 'jazzy' sonic landscape, as highlighted in its original description. This tuning is ideal for players looking to explore lush, open voicings and create a deep, resonant sound, particularly well-suited for fingerstyle, atmospheric compositions, or contemporary jazz-influenced pieces.

Verbal Analysis

At its heart, this tuning strongly features an F# minor tonality, with the notes F#, A, and C# spread across multiple octaves (C#3, F#3, A3, F#4, C#5). This provides a foundational melancholy and depth. The significant addition of a low B2 note, however, shifts the harmonic possibilities beyond a simple minor chord. It introduces a suspended or 'open' quality, giving the tuning its unique 'jazzy' character. The wide intervallic spread, ranging from B2 to C#5, encourages drone-like textures and allows for expansive arpeggios. This tuning feels open and resonant, designed to evoke a sense of introspection and modern harmonic complexity.

Technical Analysis

The open string notes are: C#3, F#3, B2, F#4, A3, C#5 (from low E to high e string).

Rearranging the unique notes, we find B, C#, F#, and A. This collection of notes immediately suggests several harmonic interpretations:

• The presence of F# - A - C# clearly establishes an F# minor triad, which is reinforced by the F# notes on both 5th and 3rd strings, and C# on 6th and 1st strings.
• With the lowest string being B2, the open strings can be heard as a complex Bm7sus2 (B-C#-F#-A). This provides a rich, ambiguous, and modern sound that is perfect for jazz and fusion.
• Alternatively, one could interpret it as an A major triad (A-C#-E) over a B bass (A/B), though the 'E' is absent. The dominant notes are A and C#, creating an implied A major quality.

This tuning makes a number of open chord shapes readily available:

• The open strings themselves form a beautiful, extended Bm7sus2 (B C# F# A).
• By simply barring all strings at the 2nd fret, you get notes D#4, G#4, C#3, G#5, B4, D#5. This creates a rich, dissonant cluster that leans towards a C#m7sus2 with a D# bass, or a D# minor 7 chord with an added 11th.
• Barring at the 4th fret yields E4, A4, D#3, A5, C#4, E5. This can be interpreted as an A major chord with E in the bass and a D# tension, offering bright yet complex voicings.

The wide intervals between strings 6 (C#3) and 5 (F#3 - Perfect 4th), and especially between strings 5 (F#3) and 4 (B2 - Descending Perfect 5th) will require some adjustment for fretting, but open up unique melodic and harmonic possibilities. The jump from B2 to F#4 on the 3rd string creates a large interval within the higher register, useful for arpeggiated figures.

Open String Notes

String 6 (Lowest): C#3
String 5: F#3
String 4: B2
String 3: F#4
String 2: A3
String 1 (Highest): C#5

How to Tune (from Standard EADGBe)

To achieve the F# Jazz Suspended tuning, you will need to adjust your guitar strings as follows. Please proceed with caution, especially when tuning strings significantly up or down.

• String 6 (Low E): Tune down 3 semitones from E to C#3.
• String 5 (A): Tune down 3 semitones from A to F#3.
• String 4 (D): Tune down 3 semitones from D to B2.
• String 3 (G): Tune down 1 semitone from G to F#4.
• String 2 (B): Tune down 2 semitones from B to A3.
• String 1 (High E): Tune down 3 semitones from E to C#5.

Important Note: The string movements for this tuning are all within 3 semitones down, which generally means standard string gauges should be acceptable. However, always exercise care when tuning, especially when making significant changes to string tension. If you plan to keep your guitar in this tuning for extended periods, or if you feel the strings are too loose, consider a heavier gauge set for optimal playability and intonation.