The "FADFAe" tuning, aptly named after its open string notes, is a unique and resonant guitar tuning. As described by its discoverer, it offers a "really nice" sound, stepping away from conventional tunings to explore fresh sonic territories.

Verbal Analysis

This tuning creates a rich, full-bodied sound when played open, leaning towards complex F major or D minor tonalities. The arrangement of notes (F2-A2-D3-F3-A3-E4) offers a blend of consonant intervals that resonate beautifully, making it particularly suitable for ambient, fingerstyle, or experimental music. The dropped 3rd and 2nd strings (from G to F, and B to A respectively) give it a slightly lower, warmer character compared to standard tuning, while the raised 6th string adds a foundational bass note that grounds the overall sound. It skillfully balances major and minor intervals, providing a pleasant and often inspiring palette for composition.

Technical Analysis

The open string notes are F2-A2-D3-F3-A3-E4. This configuration immediately suggests several harmonic possibilities for open chords:

• F Major 7 (add6) or Fmaj13(-C): Considering F as the root, the notes F, A, D, and E form an F Major chord with an added 6th (D) and a Major 7th (E). The open strings provide a full Fmaj7(add6) sonority, offering a sophisticated and open major sound. This chord, with its rich extensions, can evoke a jazzy or dreamy atmosphere.
• D Minor (add9): Alternatively, if D is considered the root, the notes D, F, A, and E form a D minor chord (D-F-A) with an added Major 2nd/9th (E). The open strings offer a resonant D minor sound with harmonic extensions, perfect for melancholic or introspective passages.

The intervals between adjacent open strings are:

• 6th to 5th string (F2 to A2): Major 3rd
• 5th to 4th string (A2 to D3): Perfect 4th
• 4th to 3rd string (D3 to F3): Minor 3rd
• 3rd to 2nd string (F3 to A3): Major 3rd
• 2nd to 1st string (A3 to E4): Perfect 5th

This creates a distinctive pattern of M3-P4-m3-M3-P5 across the strings, departing significantly from standard tuning's mostly perfect fourths. This unique intervallic structure means that familiar chord shapes from standard tuning will not apply, encouraging players to explore new voicings and melodic possibilities across the fretboard. The open strings themselves serve as a rich harmonic palette for improvisation and songwriting, particularly in keys related to F major or D minor.

How to Tune

To achieve the "FADFAe" tuning from standard EADGBe, follow these precise steps:

• 6th String (Low E): Tune up 1 semitone from E2 to F2.
• 5th String (A): Keep as is; no change from A2 (0 semitones).
• 4th String (D): Keep as is; no change from D3 (0 semitones).
• 3rd String (G): Tune down 2 semitones from G3 to F3.
• 2nd String (B): Tune down 2 semitones from B3 to A3.
• 1st String (High E): Keep as is; no change from E4 (0 semitones).

These tuning adjustments are relatively minor, falling within safe limits for standard guitar strings. No string requires a movement exceeding 4 semitones up or down. However, always exercise care when adjusting string tension and ensure your instrument is properly set up for optimal performance and intonation with any non-standard tuning.

String 6 (Low E): Tuned to F2. This is one semitone higher than the standard Low E string, providing a solid and slightly brighter bass foundation.

String 5 (A): Tuned to A2. This string remains at its standard pitch, serving as a familiar anchor point in the mid-bass range.

String 4 (D): Tuned to D3. This string remains at its standard pitch, maintaining a familiar mid-range voice.

String 3 (G): Tuned to F3. This is two semitones lower than the standard G string, significantly altering the interval relationships and harmonic possibilities in the middle of the neck.

String 2 (B): Tuned to A3. This is two semitones lower than the standard B string, contributing to the unique open chord voicings and creating a different melodic feel.

String 1 (High E): Tuned to E4. This string remains at its standard pitch, offering a high, bright melodic voice that can cut through the richer lower notes.