This is a highly experimental and unique tuning for the guitar, personally crafted by the user and described as their "best riff yet." It's an exploration of unconventional voicings, diverging significantly from standard tunings and even common open tunings.

Technical Analysis:

The open string notes are D2 F2 F3 F3 C5# E4 (low to high). This tuning presents a fascinating set of intervals:

• The two lowest strings (D2 and F2) are a minor third apart, suggesting a dark or bluesy foundation.
• A significant jump of an octave occurs from the 5th string (F2) to the 4th string (F3).
• Uniquely, the 4th and 3rd strings are tuned to the exact same note, F3. This unison pairing offers a distinct drone quality or opportunities for creative bending and vibrato effects.
• There's an extremely wide interval of 20 semitones (a major third short of two octaves) from the 3rd string (F3) to the 2nd string (C5#). This creates a vast harmonic space and a bright, piercing top end.
• The highest string (E4) is a minor third below the 2nd string (C5#), forming a tight, potentially dissonant or resonant interval at the very top.

Harmonic and Chordal Possibilities:

Due to its unconventional intervals, this tuning doesn't readily lend itself to standard open chords. Instead, it invites exploration of unique voicings and textures:

• The lowest three strings (D2 F2 F3) form a D minor arpeggio (root, minor third, octave of minor third), providing a melancholic or foundational minor tonality. Alternatively, they can be seen as an F major triad without the root.
• The repeated F3 strings (4th and 3rd) can be used for drone effects, pedal tones, or for creating rich unison or octave swells.
• The high C5# on the 2nd string, combined with the F3 strings, creates a very open and potentially dissonant interval, suggesting experimental harmonies or lead lines that stand out.
• The C5# and E4 on the top two strings form a minor third, offering a tight, resonant interval for melodic phrases or upper chord extensions.
• Overall, the tuning's wide array of intervals, including unison, minor thirds, and a massive 20-semitone jump, encourages a fingerstyle approach focused on arpeggiation and specific melodic lines rather than broad strumming of familiar chord shapes. It appears perfectly suited for the experimental and creative playing style described by the user.

Open String Notes:

Here are the target notes for each string, from the lowest (6th) to the highest (1st):

• String 6 (Low E): D2
• String 5 (A): F2
• String 4 (D): F3
• String 3 (G): F3
• String 2 (B): C5#
• String 1 (High E): E4

How to Tune:

To achieve the 'Fish Tuning' from standard E-A-D-G-B-E tuning, follow these instructions:

• String 6 (Low E): Tune down 2 semitones to D2.
• String 5 (A): Tune down 4 semitones to F2. Caution: Tuning down 4 semitones significantly reduces string tension; a lighter gauge string is advised for optimal playability and intonation.
• String 4 (D): Tune up 3 semitones to F3. Caution: Tuning up 3 semitones increases string tension; take care, and consider a lighter gauge string to prevent excessive stress on the string and neck.
• String 3 (G): Tune down 2 semitones to F3.
• String 2 (B): Tune up 2 semitones. From a standard B3, this will result in C#4. Note: The declared target note for this string is C5# (an octave higher than C#4). If C5# is the intended target, an upward tuning of 14 semitones from standard B3 would be required. Tuning up 14 semitones is extremely high and will require a special light gauge string (e.g., a banjo string) and careful consideration of the instrument's structural integrity. The instruction to "tune up 2 semitones" (as provided in 'string_movements') would only reach C#4, not C5#. Please confirm the desired pitch.
• String 1 (High E): Keep as is; no change (0 semitones) to E4.