This unique tuning, which we've named D# B F# B F# E Open Tuning, is described as an "American Footballs tuning for Never Meant but half step." While not a direct half-step transposition of the commonly known 'Never Meant' tuning (FACGCE), it masterfully captures a similar intricate and shimmering sonic quality. This style is often associated with math rock, indie, and emo genres, creating a distinct soundscape with its specific intervals and repeated notes, offering a rich canvas for arpeggiated melodies and complex chord voicings.

Technical Analysis

The open strings, from the thickest (6th) to the thinnest (1st), are D#3, B2, F#4, B3, F#4, E4. When arranged by unique pitch classes, the notes present are B, D#, E, and F#. This configuration prominently features a B Major triad (B, D#, F#), providing a strong underlying harmonic foundation. The repetition of B (B2, B3) and F# (F#4, F#4) across different octaves creates a deeply resonant and full-bodied sound when strummed openly.

The addition of the E note introduces a fascinating tension. It functions as a perfect fourth above B or a major seventh below F#. This open string voicing can be interpreted as a Bmaj(add11) or a Bsus4-like chord with a major third. This structure naturally lends itself to:

• Shimmering Arpeggios: The wide range and specific intervals between strings are perfectly suited for crafting complex, interwoven arpeggiated figures, a hallmark of the math rock genre.
• Unique Open Voicings: Even simple fretting across a single fret (e.g., barring) will produce highly distinctive and rich chord voicings, due to the inherent harmonic intervals of the open strings. For example, fretting all strings at the 2nd fret would yield a chord like E F# G# E G# F#.
• Resonant Textures: The presence of multiple B and F# notes at different octaves means these tones will resonate strongly, providing a sustained and harmonically rich backdrop for melodic lines and intricate fingerpicking.

This tuning encourages exploration beyond conventional chord shapes, making it an excellent choice for creating atmospheric and harmonically sophisticated music with a distinctive sonic signature.

How to Tune

Achieving this tuning from standard EADGBe requires significant adjustments on several strings. Please proceed with caution, as large pitch changes can put stress on your guitar neck and strings. For changes exceeding 4 semitones (either up or down), it is generally advised to consider a different string gauge to ensure optimal playability, maintain proper string tension, and avoid potential string breakage.

• 6th String (Low E): Tune down 1 semitone to D#3.
• 5th String (A): Tune up 2 semitones to B2.
• 4th String (D): Tune up 4 semitones to F#4. (Note: This is a significant upward adjustment. Exercise caution or consider a lighter gauge string to reduce tension.)
• 3rd String (G): Tune up 4 semitones to B3. (Note: This is a significant upward adjustment. Exercise caution or consider a lighter gauge string to reduce tension.)
• 2nd String (B): Tune down 5 semitones to F#4. (Warning: This is a very large downward adjustment. A heavier gauge string is strongly recommended to maintain adequate string tension and prevent the string from feeling too slack.)
• 1st String (High E): Keep as is; no change (0 semitones) at E4.

The tuning for your guitar, from the thickest (6th) to the thinnest (1st) string, is as follows:

• 6th String: D#3
• 5th String: B2
• 4th String: F#4
• 3rd String: B3
• 2nd String: F#4
• 1st String: E4