This tuning, affectionately named "Fitzsimmons' Low Octave Drop", presents a dramatically re-voiced guitar, inviting players into a world of deep resonance and sparkling, suspended harmonies.

Verbal Analysis

The sonic landscape of "Fitzsimmons' Low Octave Drop" is distinctive and immediately captivating. The most striking alteration is the 2nd string, which is lowered a full octave from its standard pitch to B2, creating a profound, almost baritone-like depth that can underpin melodies or provide a thick, resonant drone. This allows for an interesting interplay with the standard low E string, offering a unique low-end dynamic and expanding the guitar's effective range.

The middle strings (G#3, C#4, F#4) are all tuned down one semitone and are arranged in a stack of perfect fourths (G# to C# and C# to F#). This quartal harmony provides a shimmering, open, and often suspended quality, which can evoke modern, ambient, or cinematic soundscapes. Combined with the standard low E and the high D# (also down one semitone), the open strings (E2 G#3 C#4 F#4 B2 D#5) form a rich, complex chord, leaning towards an extended E major sound with a strong suspended character. This makes it ideal for arpeggiated figures, fingerpicking, and creating lush, expansive textures where individual notes ring out with clarity.

Technical Analysis

The tuning is an open E2 G3# C4# F4# B2 D5#. Compared to standard EADGBe tuning (E2 A3 D4 G4 B3 E5), the alterations are significant:

• 6th String (E): Remains at E2 (Standard pitch).
• 5th String (A): Lowered by 1 semitone to G#3.
• 4th String (D): Lowered by 1 semitone to C#4.
• 3rd String (G): Lowered by 1 semitone to F#4.
• 2nd String (B): Significantly lowered by 12 semitones (a full octave) to B2.
• 1st String (E): Lowered by 1 semitone to D#5.

The open strings, when played together, present a complex harmony: E2 B2 G#3 C#4 F4# D5#. This can be interpreted as an E5 power chord (E2 B2) providing a foundational bass, topped with a quartal stack (G#3 C#4 F4#) and an additional D5#. This structure strongly suggests suspended or modal voicings and is particularly conducive to extended chords. While not a simple open major or minor triad, the configuration lends itself to creating resonant E-based chords with rich extensions, and facilitates movement between E, G#, C#, F# based harmonies due to the specific intervals. Standard chord shapes will require significant adaptation, but new, unique voicings become readily accessible, especially those utilizing open string drones, making it a fertile ground for experimental and atmospheric music.

How to Tune

To achieve "Fitzsimmons' Low Octave Drop" from standard EADGBe tuning, follow these precise steps, paying close attention to the dramatic string tension changes for some strings:

• 6th String (Low E): Keep as is; no change (0 semitones) - it remains E2.
• 5th String (A): Tune down 1 semitone from A3 to G#3.
• 4th String (D): Tune down 1 semitone from D4 to C#4.
• 3rd String (G): Tune down 1 semitone from G4 to F#4.
• 2nd String (B): Tune down 12 semitones from B3 to B2. This is a dramatic drop of a full octave. Caution: Tuning a string down by such a large interval (more than 4 semitones) will significantly reduce its tension. For optimal playability, tone, and to avoid issues like fret buzz and poor intonation, it is highly recommended to use a much heavier gauge string for this position.
• 1st String (High E): Tune down 1 semitone from E5 to D#5.