Welcome to a detailed analysis of Rob Scallon's One Fret tuning, an intriguing and somewhat unconventional setup for the guitar, famously featured in his "One Fret Song" on YouTube. This tuning deviates significantly from standard EADGBe, offering a unique sonic landscape designed for specific melodic and harmonic explorations.

Technical Analysis

This tuning for a 6-string guitar is set to D2-G2-A#3-D3-A3-D4 (from thickest to thinnest string). What immediately stands out is its non-linear nature; the strings are not monotonically ordered by pitch from low to high. Specifically, the 3rd string (D3) is tuned lower in pitch than the 4th string (A#3), and the 2nd string (A3) is also pitched lower than the 4th string (A#3). This creates an unusual arrangement where the middle strings cross over in pitch.

• String 6 (Low E): Tuned to D in the 2nd octave (D2).
• String 5 (A): Tuned to G in the 2nd octave (G2).
• String 4 (D): Tuned to A# (Bb) in the 3rd octave (A#3).
• String 3 (G): Tuned to D in the 3rd octave (D3), an octave above the 6th string, but unusually positioned lower in pitch than the 4th string.
• String 2 (B): Tuned to A in the 3rd octave (A3), positioned lower in pitch than the 4th string.
• String 1 (High E): Tuned to D in the 4th octave (D4), completing the D octave stack.

Open Chords & Harmonic Potential

The open strings present the notes D, G, A#, D, A, D. Grouping the unique pitches gives us D, G, A, and A# (Bb). This combination does not immediately form a standard major or minor triad. Instead, it suggests a more open and perhaps dissonant harmonic foundation. The presence of three D notes across different octaves (D2, D3, D4) provides a strong root and resonant quality. The G and A create a sus4-like feel over the D, while the A# introduces a minor 6th (or augmented 5th) interval, leading to a complex harmonic texture. This tuning might be particularly effective for creating drones, open voicings, or experimental soundscapes that don't rely on traditional chord shapes.

Given the name "One Fret," the true magic of this tuning likely emerges when specific frets are applied across multiple strings simultaneously. For example, barring a single fret might yield interesting voicings that are difficult or impossible to achieve in standard tuning. The close proximity of A and A# (Bb) on the open strings (String 2 and 4, respectively) also hints at a design that enables easy access to chromatic or bluesy movements within a single fret position, without complex finger stretches. This setup is clearly tailored for a specific creative vision, inviting players to explore its unique internal logic rather than attempting to adapt conventional chord shapes.

Open String Notes

String 6 (Low E): Tuned to D2
String 5 (A): Tuned to G2
String 4 (D): Tuned to A#3
String 3 (G): Tuned to D3
String 2 (B): Tuned to A3
String 1 (High E): Tuned to D4

How to Tune (from Standard EADGBe)

• String 6 (Low E): Tune down 2 semitones from E2. The target note is D2.
• String 5 (A): Tune down 2 semitones from A2. The target note is G2.
• String 4 (D): Tune down 4 semitones from D3. The target note is A#3. Caution: Tuning a string down by 4 semitones is a significant change. If you plan to use this tuning frequently, considering a different string gauge for the 4th string might be advisable to maintain optimal tension and tone.
• String 3 (G): Tune down 5 semitones from G3. The target note is D3. Caution: Tuning a string down by 5 semitones is a substantial adjustment. For regular use, it is highly recommended to use a heavier gauge string for the 3rd string to prevent excessive looseness and potential intonation issues.
• String 2 (B): Tune down 2 semitones from B3. The target note is A3.
• String 1 (High E): Tune down 2 semitones from E4. The target note is D4.