The "fa#cfac" tuning for Guitar is an intriguing and harmonically rich open tuning, described as a variation of the familiar FACFAC tuning. While FACFAC primarily presents an F Major chord, this tuning introduces a unique complexity with its blend of both major and suspended qualities.

Verbal Analysis

At first strum, this tuning (F2-A#3-C3-F3-A3-C4) offers a full, resonant sound that isn't immediately identifiable as a simple major or minor chord. The presence of F (root), C (perfect fifth), and A (major third) clearly establishes an F Major foundation. However, the inclusion of A#3 (B-flat) alongside the A3 introduces a tension and richness, acting as a suspended fourth (or an 11th) against the F root. This creates a chord that could be broadly described as an F Major chord with an added suspended 4th (Fmaj(add4)), or Fmaj(add11).

This unique voicing lends itself to a versatile sonic palette, from open, ringing drones to bluesy or even modal explorations. The ambiguity between the major third and the suspended fourth provides a dynamic quality, allowing for both bright and melancholic expressions without needing to fret a single note.

Technical Analysis

• Instrument Type: Guitar
• Open Notes: F2 (6th String), A#3 (5th String), C3 (4th String), F3 (3rd String), A3 (2nd String), C4 (1st String).
• Intervals (from the lowest F2):
  • 6th String (F2): Root
  • 5th String (A#3): Perfect 4th (Bb) + Octave (or Major 9th from C3)
  • 4th String (C3): Perfect 5th
  • 3rd String (F3): Octave
  • 2nd String (A3): Major 3rd (from F3) / Major 10th (from F2)
  • 1st String (C4): Perfect 5th (from F3) / Perfect 12th (from F2)
• This tuning is characterized by its wide intervallic spread and the unique inclusion of both a major third (A) and a perfect fourth (Bb/A#) relative to the F root. This creates a rich harmonic cluster when strummed open.

Chords and Playability

The open tuning itself forms an Fmaj(add4) or Fmaj(add11) chord, providing a beautiful foundation. Due to the consistent interval relationships across certain string groups, barring across frets can quickly yield familiar chords:

• Open Strum: An F major chord with an added suspended 4th (Bb/A#), creating a rich, somewhat jazzy or bluesy sound.
• Barring at the 1st Fret: By barring all strings at the first fret, the tuning transposes up by a semitone, resulting in G C D G B D, which is an open G major chord.
• Barring at the 3rd Fret: Barring at the third fret will yield A D E A C# E, an A major chord.
• This "moveable chord" capability makes it very easy to play major chords across the fretboard by simply barring. This tuning also opens up possibilities for interesting drone-based music and provides unique voicings for arpeggios.

How to Tune (from Standard EADGBe)

To achieve the "fa#cfac" tuning, adjust your strings from standard EADGBe as follows. Please take care, especially with significant pitch changes.

• 6th String (Low E): Tune up 1 semitone from E to F2.
• 5th String (A): Tune up 1 semitone from A to A#3 (Bb3).
• 4th String (D): Tune down 2 semitones from D to C3.
• 3rd String (G): Tune down 2 semitones from G to F3.
• 2nd String (B): Tune down 2 semitones from B to A3.
• 1st String (High E): Tune down 4 semitones from E to C4.

Important Note: The 1st string requires tuning down 4 semitones. Tuning down by 4 or more semitones, or up by 3 or more semitones, can significantly alter string tension. For a tuning with such substantial changes, especially the high E string moving down by 4 semitones which will result in a notably looser feel, considering a heavier gauge string set might be beneficial. This will help maintain optimal playability, intonation, and tone, preventing the string from feeling too "floppy" or buzzing excessively.

6th String: Tuned to F2 (the F below middle C).

5th String: Tuned to A#3 (A sharp in the third octave, equivalent to Bb3).

4th String: Tuned to C3 (middle C).

3rd String: Tuned to F3 (the F above middle C).

2nd String: Tuned to A3 (the A above middle C).

1st String: Tuned to C4 (the C an octave above middle C).