Tuning Analysis: EAC#F#BF#

Verbal Analysis

This tuning, EAC#F#BF#, offers a distinctive soundscape characterized by wide intervallic jumps and a strong potential for rich, resonant chords. The open strings present a complex harmony, not a simple open major or minor chord. The notes E, A, C#, F#, B, F# collectively form a strong foundation hinting at either an E Major or A Major tonality, featuring the notes of an E Lydian or A Lydian mode (E, A, B, C#, F#). The repeated F# on strings 3 and 1 creates a natural drone and adds to the harmonic complexity, providing a bright, shimmering top end. The presence of the B3 on string 2, which is lower in pitch than the F#4 on string 3, creates interesting voice leading possibilities and unexpected harmonic textures when strummed open. This tuning might be particularly inspiring for fingerstyle players exploring arpeggiated figures or for those seeking unique ambient textures and dissonances that resolve interestingly. The wide range, spanning over three octaves from the low E2 to the high F#5, gives it a grand and expansive feel.

Technical Analysis

The tuning starts with the lowest two strings, E2 and A2, in a standard perfect 4th interval. However, a significant leap occurs to C#4 on the 4th string, creating a compound major 3rd (an octave and a major 3rd) from A2. From C#4, the tuning proceeds to F#4 with a perfect 4th. An intriguing feature is the descent to B3 on the 2nd string, forming a perfect 5th down from F#4, followed by another substantial jump up to F#5 on the 1st string (a compound perfect 5th from B3). This non-linear arrangement of pitches creates a highly unique set of open string relationships, diverging significantly from standard guitar tuning (EADGBe).

• String 6 (E2) to String 5 (A2): Perfect 4th (P4)
• String 5 (A2) to String 4 (C#4): Compound Major 3rd (M3 + P8)
• String 4 (C#4) to String 3 (F#4): Perfect 4th (P4)
• String 3 (F#4) to String 2 (B3): Descending Perfect 5th (P5 down)
• String 2 (B3) to String 1 (F#5): Compound Perfect 5th (P5 + P8)

Open Chords and Playability Notes

• The open strings themselves (E-A-C#-F#-B-F#) can imply an A major chord with an E bass (A/E) and additional extensions (B and F#).
• The lowest three strings (E-A-C#) form an A Major chord in 2nd inversion, providing a solid, consonant base.
• By focusing on the higher strings, the F#4-B3-F#5 combination offers a strong F#sus4 or Bsus2 quality.
• The overall collection of notes (E, A, B, C#, F#) suggests an E Major 6/9 or A Major 6/9 tonality, making common major or Lydian scale shapes easily accessible for improvisation.
• The wide intervals between strings 5-4 (A2 to C#4) and 2-1 (B3 to F#5) might require rethinking standard chord voicings but open up possibilities for very large, spread-out chords or arpeggios that would be impossible in standard tuning.

How to Tune

Follow these instructions carefully to achieve the EAC#F#BF# tuning. Use a reliable tuner.

• 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: Tune down 1 semitone. Target Note: C#4.
• String 3: Tune down 1 semitone. Target Note: F#4.
• String 2: Keep as is; no change (0 semitones). Target Note: B3.
• String 1 (High E): Tune up 2 semitones. Target Note: F#5.

Important Note on Tuning Reference and String Tension: Please be aware that the 'semitone' movements described above are relative to an unspecified starting point, as provided in the tuning data. When tuning to the final 'Target Note' for each string, you may find that some strings need to move significantly more than the stated semitones if starting from standard EADGBe tuning. For example, if starting from standard, the 4th string (normally D3) needs to go to C#4 (an increase of 11 semitones), and the 3rd string (normally G3) needs to go to F#4 (also an increase of 11 semitones). These are very large increases in pitch and tension. Tuning up more than 4 semitones (or down more than 4 semitones) often requires a different string gauge to prevent breakage or damage to your instrument. Proceed with extreme caution and use lighter gauge strings for strings 4 and 3 if starting from standard EADGBe to achieve C#4 and F#4 respectively. Always tune to the specified Target Note, carefully monitoring string tension.

• String 6 (Lowest): E2
• String 5: A2
• String 4: C#4
• String 3: F#4
• String 2: B3
• String 1 (Highest): F#5