Tuning Analysis: fatse i guess

This tuning, known as "fatse i guess", is described as a baritone guitar tuning transposed for a standard guitar. It creates a rich and often dissonant soundscape with a wide range of intervals, moving away from conventional open chords to offer a unique harmonic palette.

Verbal Analysis

The open strings present a unique sonic character. The low E, B, E, B forms a powerful and resonant foundation, echoing a deep E5 power chord. This makes it immediately suitable for heavy riffs, drone passages, or atmospheric textures. However, the higher strings, D# and F, introduce distinct harmonic tension. The D# (D sharp) adds a bright, major quality, being the major seventh of E, while the F introduces a sharp, almost clashing element (a minor second above E, or a minor third above D#). This combination moves the tuning beyond simple open chords into a realm of sophisticated or even avant-garde voicings. It could evoke a sense of mystery, tension, or a dark, cinematic feel, perfect for genres like progressive metal, ambient, or experimental music where unique harmonic colors are desired. The significant jump from the B3 on the 3rd string to the D#5 on the 2nd string also contributes to a very open and expansive sound, allowing for large melodic leaps.

Technical Analysis

Compared to standard tuning (E A D G B E), this tuning is highly altered:

• String 6: E2 (Standard)
• String 5: B2 (Up a perfect fifth from standard A)
• String 4: E3 (Up a perfect fourth from standard D)
• String 3: B3 (Up a perfect fifth from standard G)
• String 2: D#5 (Up a major third from standard B)
• String 1: F4 (Up a minor second from standard E)

The open notes are E2, B2, E3, B3, D#5, F4. Analyzing these notes reveals a complex harmonic structure. The low E-B-E-B provides a strong E5 foundation across the lower four strings. Including the D#5, the notes E, B, D# suggest an E major 7th harmony. However, the addition of F4 introduces a significant chromatic dissonance, as it is a minor second above E and a minor third above D#. This creates a voicing that could be interpreted as E with a ♭9 and Maj7, or more abstractly as a cluster of notes (E, F, B, D#) with octave doublings. This setup makes traditional open chord shapes less straightforward but opens up possibilities for specific intervallic voicings and melodic patterns that are unique to this tuning. The wide intervals between strings, particularly the octave-plus-major-third jump from B3 to D#5, encourage a more arpeggiated or intervallic playing style rather than strumming standard chord forms.

How to Tune

Given the significant string movements, particularly the upward tuning, exercise caution. For movements of 4 semitones or more, a different string gauge is strongly advised to prevent string breakage or damage to your guitar.

• 6th String (Low E): Keep as is; no change (0 semitones).
• 5th String (A): Tune up 2 semitones to B.
• 4th String (D): Tune up 2 semitones to E.
• 3rd String (G): Tune up 4 semitones to B. (Note: Tuning up 4 semitones is significant; consider a heavier gauge string.)
• 2nd String (B): Tune up 4 semitones to D#. (Note: Tuning up 4 semitones is significant; consider a heavier gauge string.)
• 1st String (High E): Tune up 1 semitone to F.

6th String: E2

5th String: B2

4th String: E3

3rd String: B3

2nd String: D#5

1st String: F4