Tuning Overview: EF#DFF#D

This unique guitar tuning, named EF#DFF#D, is described as being "made up for acoustic fingerpicked jams." It offers a rich, resonant, and somewhat ambiguous harmonic landscape, perfect for exploring new sonic textures.

Verbal Analysis

The tuning immediately strikes with its non-standard, open quality. The repeated D and F# notes across different octaves create a natural resonance, providing a canvas for droning patterns and sustained melodies. The inclusion of the F natural on the third string, nestled between D and F#, introduces an interesting tension and ambiguity, leaning between major and minor tonalities, or even a bluesy, modal feel. This makes it particularly expressive for fingerpicking, where individual string voicings can be highlighted. The lower E string provides a stable bass foundation, allowing the higher strings to weave complex harmonic tapestries.

Due to the open notes, one might find an immediate affinity for D-centric sounds, but the F natural prevents it from being a straightforward D major or minor. Instead, it invites exploration of D-based modes or scales that incorporate both F and F#. Shapes that emphasize the D and F# tones will feel natural, while the F natural can be used for added color or passing tones. This tuning encourages an intuitive, less structured approach to playing, focusing on the interplay of open strings and simple fretted patterns.

Technical Analysis

The open strings are tuned to E2, F#3, D3, F3, F#4, D4 (from low to high). Let's examine the intervals:

• String 6 (E2): The lowest note, providing a fundamental bass.
• String 5 (F#3): A Major 2nd (or 9th) above E2 (an octave higher), and a major third above D3 (from string 4).
• String 4 (D3): A Major 7th below E2 (or an octave and a major 7th from E2), creating a strong tonic presence often associated with D.
• String 3 (F3): A minor 3rd above D3 and a minor 2nd above F#3, introducing a dissonant yet intriguing tension with the F#. This F natural is a key characteristic of the tuning's unique flavor.
• String 2 (F#4): An octave higher than F#3, reinforcing the F# tone and providing brightness.
• String 1 (D4): An octave higher than D3, further emphasizing the D tone and completing the upper register.

The open strings contain the notes D, E, F, F#. This combination is not a standard chord, but it suggests a complex D-based sonority with an added E and an interesting interplay between F natural and F sharp. The clustering of D and F# notes across octaves (D3, D4 and F#3, F#4) gives it a strong, resonant quality. The F3 on the 3rd string creates a strong tension against the F# notes, particularly the F#4 on the 2nd string, which is only a semitone above it. This semitone interval is crucial for its unique sound.

Open Chords and Possibilities

While not a direct open chord in the traditional sense, the tuning strongly implies certain harmonic leanings:

• D-centric Sounds: The prevalence of D notes (strings 4 and 1) makes D a natural root. When played open, the tuning offers a rich D sound, possibly a Dsus2 (if you ignore the F) or a more complex Dmaj7sus2 with the added F. The F natural (string 3) gives it a unique bluesy or modal flavor against the D root.
• F# Minor/Major Shades: With F# on strings 5 and 2, F# minor or major arpeggios and chords are readily accessible with minimal fretting.
• Modal Explorations: The dissonant F natural against F# allows for interesting modal playing, perhaps leaning into Lydian or Phrygian dominant-like sounds depending on the melodic context. Simple movements on the lower strings can transform the harmonic foundation.
• Fingerstyle Resonance: The open strings ring beautifully together, making it ideal for arpeggiated fingerstyle pieces where the individual notes can shimmer and blend. Focusing on the D, F#, and F notes will yield the most characteristic sounds.

Detailed String Notes

Here's a breakdown of each string's target note in the EF#DFF#D tuning:

• String 6 (Low E): E2
• String 5 (A): F#3
• String 4 (D): D3
• String 3 (G): F3
• String 2 (B): F#4
• String 1 (High E): D4

How to Tune to EF#DFF#D

To achieve the EF#DFF#D tuning from standard EADGBe, follow these precise string adjustments. Please be cautious with significant tuning changes, especially tuning down, to maintain string tension and intonation.

• String 6 (Low E): Keep as is; no change (0 semitones). The string remains tuned to E2.
• String 5 (A): Tune down 3 semitones. Tune your A3 string down to F#3.
• String 4 (D): Keep as is; no change (0 semitones). The string remains tuned to D3.
• String 3 (G): Tune down 2 semitones. Tune your G3 string down to F3.
• String 2 (B): Tune down 5 semitones. Tune your B3 string down to F#4. Caution: This is a significant drop. If you plan to use this tuning frequently, consider using a heavier gauge string for the 2nd string to maintain proper tension and intonation.
• String 1 (High E): Tune down 2 semitones. Tune your E4 string down to D4.

After tuning, it's always a good practice to check your intonation, especially with such dramatic changes on some strings.