Tuning Analysis: FADGCD

Named "A Pitcher of Summer" by Kayo Dot, the FADGCD tuning for guitar presents a unique and evocative soundscape. This tuning immediately stands out from conventional tunings, offering a blend of deep resonance and shimmering upper voicings that lean towards an ambient, progressive, or experimental style.

Verbal Analysis

The FADGCD tuning creates a wide sonic palette. The low F (6th string) provides a formidable foundation, creating a dark and resonant bass end. This is complemented by the A (5th string), forming a strong major third interval that sets an initial bright yet grounded mood. The middle strings (D, G, C) are tuned in consecutive perfect fourths, which is a common characteristic of tunings designed for easy arpeggios, modal playing, and open, sustained chords. This sequence lends itself well to fluid melodic lines and allows for consistent fingerings across these strings. The high D (1st string) then adds a bright, chiming quality, often creating suspended or extended harmonic textures against the lower F and A, as well as the C on the 2nd string. The overall impression is one of expansiveness and subtle tension, hinting at rich, complex harmonies rather than simple triads.

Due to its non-standard intervals, simple open major or minor chords are not directly formed by the open strings. Instead, the tuning leans towards open voicings of extended chords, suspensions, and unique drones. For example, the open strings contain elements of an Fmaj13 (F-A-D-G-C-D), specifically F, A, D (6th, 5th, 4th strings) which outline an Fmaj6 (missing the 5th, C), and G, C, D (3rd, 2nd, 1st strings) which suggest a Gsus2 or Gsus4 depending on context. The consecutive perfect fourths (A-D-G-C) on strings 5-2 make it easy to barre across these strings for interesting chord voicings or power chords, while the F and high D act as powerful drone or melodic components. This tuning is ideal for creating atmospheric textures, intricate fingerstyle passages, and dense harmonic clusters.

Technical Analysis

Starting from the lowest string, the intervals are as follows:

• 6th String: F2
• 5th String: A2 (Major 3rd above F)
• 4th String: D3 (Perfect 4th above A, or Major 6th above F)
• 3rd String: G3 (Perfect 4th above D, or Major 2nd above F)
• 2nd String: C4 (Perfect 4th above G, or Perfect 5th above F)
• 1st String: D4 (Major 2nd above C, or Major 6th above F, or an octave higher than the 4th string D)

The intervals F-A, A-D, D-G, G-C, C-D create a rich harmonic landscape. The stack of perfect fourths (A-D-G-C) on the middle four strings is a powerful feature, promoting scalar and chordal consistency. The open strings, F-A-D-G-C-D, create a complex sonority that can be interpreted as an Fmaj13(omit5) chord or a more ambiguous cluster. This open quality is perfect for sustained notes, drones, and layered textures, allowing the player to explore microtonal inflections and expressive melodic lines without the constraints of traditional chord shapes.

How to Tune

To achieve the FADGCD tuning from standard EADGBe tuning, follow these adjustments:

• 6th String (Low E): Tune up 1 semitone from E to F2.
• 5th String (A): Keep as is; no change (0 semitones) - A2.
• 4th String (D): Keep as is; no change (0 semitones) - D3.
• 3rd String (G): Keep as is; no change (0 semitones) - G3.
• 2nd String (B): Tune up 1 semitone from B to C4.
• 1st String (High E): Tune down 2 semitones from E to D4.

Important Note: When adjusting string tension, especially when tuning up, always proceed carefully. While a 1-semitone increase is generally safe for standard gauge strings, tuning changes of 4 semitones or more (up or down) often warrant considering a different string gauge to maintain optimal tension and prevent string breakage or neck damage. In this tuning, all adjustments are within generally safe limits for standard strings.