FFttt (Perfect Fourths and Minor Thirds): A Deep Dive

The tuning named "FFttt (Perfect fourths and minor thirds)" presents a truly unique and intricate sonic landscape for the adventurous guitarist. As its description suggests ("2 perf. 4th and on top of that 3 min. 3rds"), it builds on a foundation of perfect fourths, then introduces a sequence of minor thirds. However, a deeper look reveals some highly unconventional octave placements and re-entrancy that demand a complete re-evaluation of the fretboard.

Verbal Analysis: The Unconventional Sound

This is not a tuning designed for conventional chord shapes or easy strumming. Instead, it invites exploration into angular, sometimes dissonant textures and unexpected harmonic voicings. The prominent minor third intervals throughout the upper strings lend a dark, bluesy, or melancholic character, while the extreme octave jump and the re-entrant nature of the higher strings create a sense of tension and surprise. It could be an excellent choice for experimental musicians, composers seeking new timbres, or guitarists looking to break away from traditional voicings and explore modern, avant-garde, or jazz-inflected soundscapes. Expect to rethink your fingering entirely and discover fresh melodic and harmonic relationships that are simply impossible in standard tuning.

Technical Analysis: Intervals and Structure

Let's examine the intervals between the open strings, from thickest (6th) to thinnest (1st), based on the notes E2-A2-D3-F3-G4#-B3:

• String 6 (E2) to String 5 (A2): Perfect 4th (5 semitones up).
• String 5 (A2) to String 4 (D3): Perfect 4th (5 semitones up).
• String 4 (D3) to String 3 (F3): Minor 3rd (3 semitones up).
• String 3 (F3) to String 2 (G4#): This is a massive leap – a Minor 10th (15 semitones up, effectively an octave plus a minor third from F3 to G#4). This is a highly unusual and dramatic jump in pitch, requiring specific string choice and careful tension management.
• String 2 (G4#) to String 1 (B3): A significant drop – a Major 6th down (9 semitones down). This makes the tuning re-entrant, meaning the 1st string is actually lower in pitch than the 2nd string. This configuration completely alters melodic and chordal possibilities.

While the overall description of "2 perf. 4th and on top of that 3 min. 3rds" accurately describes the *qualities* of the intervals (E-A, A-D are P4s; D-F, F-G#, G#-B are m3s if octave is ignored), it does not convey the striking octave displacement and re-entrancy which define this tuning's unique character.

Open Chords and Reachable Voicings

Due to the large interval jumps and the re-entrant nature of the upper strings, conventional open chords are largely unavailable or sound drastically different from standard tuning. The open strings themselves (E, A, D, F, G#, B) form a complex sonority that isn't a simple major or minor triad. It contains:

• An implied D minor triad (D, F, A) can be found across strings 4, 3, and 5 (D3, F3, A2).
• An E major triad (E, G#, B) is available across strings 6, 2, and 1 (E2, G4#, B3), but with the G# an octave higher than typically expected, giving it a very bright, almost chiming quality.

This tuning strongly encourages horizontal melodic playing across strings, exploring unique drone-like qualities, and discovering new clusters or percussive textures rather than strumming familiar chord shapes. Chords will likely be formed with unusual fingerings, often spanning non-adjacent strings to achieve desired voicings.

Tuning Notes and How to Tune to FFttt

The FFttt tuning sets your guitar strings to the following notes, from thickest (6th) to thinnest (1st):

• String 6: E2 (Low E)
• String 5: A2 (A string)
• String 4: D3 (D string)
• String 3: F3 (F string)
• String 2: G4# (G sharp string - note the high octave!)
• String 1: B3 (High B string - note it's lower than String 2)

How to Tune Your Guitar to FFttt:

To achieve the unique FFttt tuning, you will adjust your guitar strings from standard EADGBe tuning. Please pay particular attention to the significant changes, especially for the 2nd and 1st strings.

• String 6 (E2): Keep as is; no change (0 semitones).
• String 5 (A2): Keep as is; no change (0 semitones).
• String 4 (D3): Keep as is; no change (0 semitones).
• String 3 (F3): Tune down 2 semitones. This means taking your standard G3 string and lowering its pitch by two semitones to F3.
• String 2 (G4#): Tune down 3 semitones. The target note for this string is G4#. It's important to note that tuning a standard B3 string down by 3 semitones would typically result in G#3. Achieving the specified G4# with this movement suggests that this string is intended to start at a much higher pitch (A#4) or requires a dedicated string gauge for this position to reach G4# at appropriate tension.
• String 1 (B3): Tune down 5 semitones. This involves lowering your standard high E4 string by five semitones to B3. This is a considerable drop in tension (exceeding 4 semitones), and for optimal tone, sustain, and playability, using a heavier gauge string for this position is strongly advised to maintain proper string tension.