Tuning Overview: FACGCD# / FACGCEb

This intriguing tuning, known as FACGCD# / FACGCEb, is an experimental creation, described by its originator as "something that popped up when messing around with FACGCE." It departs significantly from standard guitar tuning, offering a unique sonic palette ripe for exploration on a standard 6-string guitar.

Verbal Analysis

When strummed open, the full set of notes (F2-A2-C3-G3-C4-D#5) presents a rich and complex harmonic landscape. The lowest three strings (F2, A2, C3) immediately form a clear and resonant F major triad, providing a strong tonal foundation. This makes playing an F major chord accessible simply by striking the lower strings. The repeated C notes (C3 and C4) reinforce the fifth of F, adding depth and stability to the open sound.

The introduction of G3 on the third string adds a natural 9th to the F major foundation. However, the most distinctive element is the highest string, D#5 (enharmonically Eb5). This note transforms the open tuning's harmonic character, creating an F7(add9) chord (F-A-C-G-C-Eb). This dominant 9th quality lends itself beautifully to blues, jazz, and fusion genres, encouraging players to explore scales such as F Mixolydian or F Blues over the open strings. The Eb adds a tension that can be resolved or embraced for its unique color.

Chords immediately within reach include open F major (using the bottom three or five strings), and by strategically fretting the G and D# strings, various suspended or extended F chords are possible. Traditional chord shapes will require significant adaptation due to the non-standard intervals, pushing players to discover new voicings and melodic patterns that leverage the unique open string relationships.

Technical Analysis

Compared to standard E-A-D-G-B-E tuning, this setup involves specific alterations to four of the six strings:

• 6th String (Low E to F2): Tuned up 1 semitone.
• 5th String (A to A2): Remains unchanged.
• 4th String (D to C3): Tuned down 2 semitones.
• 3rd String (G to G3): Remains unchanged.
• 2nd String (B to C4): Tuned up 1 semitone.
• 1st String (High E to D#5): Tuned down 1 semitone.

The intervals between the open strings are as follows:

• F2 to A2: Major 3rd
• A2 to C3: Minor 3rd
• C3 to G3: Perfect 4th
• G3 to C4: Perfect 4th
• C4 to D#5: Minor 10th (or a compound minor 3rd from C to Eb)

These non-symmetrical intervals indicate a tuning designed for specific voicings and melodic approaches rather than simply shifting standard chord shapes. The strong F-A-C base combined with the G and D# create a tuning that is both harmonically interesting and challenging, inviting creative exploration.

How to Tune

To achieve the FACGCD# / FACGCEb tuning from standard E-A-D-G-B-E, follow these precise string movements:

• String 6 (Low E string): Tune up 1 semitone to F2.
• String 5 (A string): Keep as is; no change (0 semitones) to A2.
• String 4 (D string): Tune down 2 semitones to C3.
• String 3 (G string): Keep as is; no change (0 semitones) to G3.
• String 2 (B string): Tune up 1 semitone to C4.
• String 1 (High E string): Tune down 1 semitone to D#5.

Important Note on String Tension: All string movements required for this tuning are relatively minor, ranging from 1 to 2 semitones up or down. These small adjustments are generally safe for standard gauge strings. However, as a crucial guideline, if a tuning ever demands a change of 4 semitones or more (either tuning up or down), it is strongly recommended to consider switching to a lighter or heavier gauge string, respectively. Extreme tension or looseness can potentially damage your instrument's neck or bridge, and significantly impact playability and intonation. Fortunately, for this specific FACGCD# tuning, no such drastic changes are necessary, making it suitable for immediate experimentation with your current string setup.

String 6 (Low E string equivalent): F2
String 5 (A string equivalent): A2
String 4 (D string equivalent): C3
String 3 (G string equivalent): G3
String 2 (B string equivalent): C4
String 1 (High E string equivalent): D#5