Tuning Overview: "facgc#e"

Verbal Analysis

As described by its creator, the "facgc#e" tuning is certainly a unique and "spicy" sonic experience, with an admitted preference for those who enjoy unconventional sounds. The original description states it's "awful" and that the #2 (presumably referring to the augmented second or related interval) is disliked, yet it "works with Lydian #2." This suggests a challenging but potentially rewarding tuning for experimental players, offering a distinct flavour outside of standard tonality. It's definitely not a tuning for easy, conventional strumming, leaning instead towards creating dissonant, colourful, and perhaps even jarring textures. If you're looking to break free from traditional harmony and explore something truly different, this tuning invites you to do so, albeit with a warning that it might push your sonic boundaries.

Technical Analysis

This custom tuning sets the guitar's open strings to F2, A2, C3, G3, C#3, and E4 (low to high). Please note a significant discrepancy in the provided data: the tuning_notes specified String 2 as C5#, while string_movements indicates tuning the standard B3 string up 2 semitones to C#3. For the purposes of playability and realistic string tension, we will proceed with C#3 as the intended note for String 2. Tuning to C5# (two octaves higher) from a standard B3 string would be extremely difficult, if not impossible, and risks immediate string breakage.

Let's analyze the intervals between the adjusted open strings (F2, A2, C3, G3, C#3, E4):

• String 6 (F2) to String 5 (A2): Major 3rd (4 semitones)
• String 5 (A2) to String 4 (C3): Minor 3rd (3 semitones)
• String 4 (C3) to String 3 (G3): Perfect 5th (7 semitones)
• String 3 (G3) to String 2 (C#3): Augmented 4th / Tritone (6 semitones) - This is a key dissonant interval.
• String 2 (C#3) to String 1 (E4): Minor 10th (15 semitones, equivalent to a minor 3rd plus an octave)

The open strings F-A-C form a clear F Major triad on the lower strings, providing a strong harmonic anchor. However, the subsequent G3 introduces an Fmaj7add9 feel (without the 5th) and the C#3 creates a sharp, dissonant clash with the preceding C3 and G3, characteristic of the "spicy" nature described. The final E4 completes the open voicing.

Due to the unique interval structure, particularly the Tritone between G3 and C#3, conventional chord shapes will need significant adaptation or new fingerings. The F Major triad on the bottom three strings provides a solid foundation for arpeggiated patterns or drones. The C#-E interval on the top two strings offers a minor third, which can be useful for melodic ideas or higher register voicings that emphasize tension against the lower notes. This tuning encourages exploration of suspensions, dissonances, and non-standard harmonies, aligning with its "Lydian #2" character, which often features augmented intervals.

How to Tune Your Guitar to "facgc#e"

To achieve the "facgc#e" tuning from standard EADGBe, follow these string adjustments. Please exercise caution when tuning, especially with upward movements, and consider string gauge if making substantial changes.

• String 6 (Low E): Tune up 1 semitone from E2 to F2.
• String 5 (A): Keep as is; no change (0 semitones) at A2.
• String 4 (D): Tune down 2 semitones from D3 to C3.
• String 3 (G): Keep as is; no change (0 semitones) at G3.
• String 2 (B): Tune up 2 semitones from B3 to C#3. (Note: As discussed above, while the JSON's tuning_notes specified C5#, tuning from B3 up 2 semitones results in C#3, which is the practical and playable note for this string.)
• String 1 (High E): Keep as is; no change (0 semitones) at E4.

Important Note on String Gauges: For tuning movements exceeding 4 semitones (either up or down), a different string gauge is generally advised to ensure proper tension, intonation, and to prevent string breakage. In this tuning, while most movements are minor, consistently check your string tension and guitar's intonation after tuning. The large theoretical jump to C5# on string 2 (if taken literally) would necessitate an entirely different setup and string type, further supporting the interpretation of C#3 for playability.

String 6: F2 (Tuned up 1 semitone from standard E2)

String 5: A2 (No change from standard A2)

String 4: C3 (Tuned down 2 semitones from standard D3)

String 3: G3 (No change from standard G3)

String 2: C#3 (Tuned up 2 semitones from standard B3. The JSON's 'tuning_notes' indicated C5#, but C#3 is the practical result from the given 'string_movements' and is assumed for playability.)

String 1: E4 (No change from standard E4)