Tuning Overview: "Randy, I Am the Liquor" by Free Throw

This is a specialized guitar tuning, famously used to perform "Randy, I Am the Liquor" by Free Throw. It's a highly unconventional and re-entrant setup, designed to achieve specific voicings and textures characteristic of the band's sound, as observed in various acoustic performances.

Verbal Analysis

This tuning presents a distinctive sonic landscape that diverges significantly from standard guitar tunings. With open strings pitched E2 A2 B2 F#4 B3 D#5, it features an extraordinary blend of low, resonant tones and extremely high, piercing notes. The most striking characteristic is its re-entrant nature, where the third string (F#4) is tuned considerably higher than its neighboring strings (B2 on String 4 and B3 on String 2). This creates a unique harmonic tapestry, making traditional chord shapes virtually impossible and encouraging arpeggiated patterns or specific single-note melodies that exploit the wide intervallic jumps. The overall feel is bright and resonant, with potential for both shimmering arpeggios and stark, almost dissonant voicings depending on how the player navigates the unusual string order. It's perfectly suited for the specific sound of the Free Throw track it's named after, likely offering open, ringing textures and a distinct emotional quality.

Technical Analysis

Open String Notes:

• String 6: E2 (Low E)
• String 5: A2
• String 4: B2
• String 3: F#4
• String 2: B3
• String 1: D#5 (High D#)

• E2 to A2: Perfect 4th
• A2 to B2: Major 2nd
• B2 to F#4: Compound Minor 6th (an octave and a minor 6th, or 19 semitones). This is an exceptionally large jump, creating a dramatic shift in pitch.
• F#4 to B3: Perfect 4th (downwards, meaning String 3 is pitched higher than String 2, a hallmark of re-entrant tuning).
• B3 to D#5: Compound Major 3rd (an octave and a Major 3rd, or 15 semitones). Another significant intervallic leap.

The open string notes E2, B2, and D#5 form an E Major arpeggio, providing a strong harmonic center. However, the presence of A2 and the extremely high F#4 (higher than B3 on String 2) creates a highly complex and unique voicing. Traditional chord shapes will not translate directly; instead, players will discover new voicings and melodic possibilities that leverage the wide intervals and the re-entrant string order. This tuning is most effective for arpeggiated figures and open string drones rather than conventional strumming.

How to Tune

To achieve this unique tuning, follow these specific adjustments from a standard EADGBe tuning to reach the specified target notes. Please pay close attention to the string gauge recommendations, especially for the higher-pitched strings, as achieving the target octaves may require significantly lighter strings than standard gauges.

• String 6 (Low E): Keep as is; no change (0 semitones). Target Note: E2.
• String 5 (A): Keep as is; no change (0 semitones). Target Note: A2.
• String 4 (D): Tune down 3 semitones. This means tuning from D3 down to B2. Target Note: B2.
• String 3 (G): Tune down 1 semitone. This means tuning from G3 to F#3. However, the target note for String 3 in this tuning is F#4. Achieving F#4 from a standard G3 string would typically require tuning up an additional 12 semitones (one full octave) from F#3. This extreme pitch increase requires a very light gauge string to avoid breakage and ensure proper intonation. Target Note: F#4.
• String 2 (B): Keep as is; no change (0 semitones). Target Note: B3.
• String 1 (High E): Tune down 1 semitone. This means tuning from E4 to D#4. However, the target note for String 1 in this tuning is D#5. Achieving D#5 from a standard E4 string would typically require tuning up an additional 12 semitones (one full octave) from D#4. This extreme pitch increase requires a very light gauge string to avoid breakage and ensure proper intonation. Target Note: D#5.

String Gauge Advisory:

• The target notes F#4 (String 3) and D#5 (String 1) are an octave higher than what a simple semitone drop from standard tuning's G3 and E4 would typically yield (F#3 and D#4, respectively). Achieving these target octaves (F#4 and D#5) means effectively tuning up by more than 12 semitones (an octave plus the initial semitone adjustment) from the standard pitch of those strings. Tuning a standard gauge string up by this amount (exceeding the recommended 4 semitones) can lead to significant string breakage and potential damage to the guitar's neck or bridge. It is highly recommended to use significantly lighter gauge strings (e.g., custom sets, banjo strings, or mandolin strings) for String 3 and String 1 to safely reach F#4 and D#5 at appropriate tension.
• All other string movements are within typical ranges; however, always exercise care when adjusting string tension and use a reliable tuner.