"emo again thing" Tuning Analysis

This tuning, named "emo again thing" and described by its creator as "emo thingy maboberfdkfkdkfdkfkdfkdkfdfdf," offers a distinct and emotionally resonant soundscape for the guitar. It ventures far from standard tuning, creating a complex and somewhat melancholic open chord with a rich, suspended character.

Verbal Analysis:

The open strings present a unique chord voicing that can be identified as an Fsus4(add6) or F6(sus4). The dominant presence of F and C (root and fifth) provides a harmonic foundation, but the inclusion of A# (Bb, a suspended 4th or diminished 5th) and D (a major 6th) creates a beautiful tension and wistfulness. This combination lends itself well to genres seeking emotional depth, such as emo, indie rock, or alternative music where complex harmonic textures are appreciated. The repeated A# (Bb) across two octaves (strings 5 and 3) reinforces this suspended, slightly dissonant quality, offering a sound that is both yearning and introspective. Strumming all open strings will immediately evoke a mood that is far from typical, encouraging experimental melodic and chordal approaches.

Technical Analysis:

This is a custom tuning for a standard Guitar. The tuning notes, from thickest (low E string) to thinnest (high E string), are F2, A#3, D3, A#4, C4, F4.

• String 6 (Low E becomes F2): Tuned up a semitone from standard E. This establishes an F root.
• String 5 (A becomes A#3): Tuned up a semitone from standard A. This introduces an A# (Bb), which is a suspended 4th or diminished 5th relative to the F root.
• String 4 (D becomes D3): Remains at standard D. This D is a major 6th relative to the F root, adding harmonic color.
• String 3 (G becomes A#4): Tuned up three semitones from standard G. This is another A# (Bb), an octave higher than string 5, strongly reinforcing the suspended quality.
• String 2 (B becomes C4): Tuned up a semitone from standard B. This C is a perfect 5th relative to the F root, providing harmonic stability.
• String 1 (High E becomes F4): Tuned up a semitone from standard E. This F is an octave above the root F2, completing the F chord foundation.

The open tuning itself forms an Fsus4(add6) chord (F-A#-D-A#-C-F). This unique voicing features tritones between F-A# (strings 6-5) and between D-A# (strings 4-3, an augmented 4th interval). The top three strings (A#4-C4-F4) form a Bb major triad in second inversion (F-Bb-C). This creates a strong suspended dominant feeling when played in isolation. Players will find that traditional chord shapes will need significant adjustment, but the open tuning provides a rich canvas for arpeggios, droning patterns, and open-string riffs. Power chords might be challenging due to the intervals, but single-note melodies and two-note harmonies will take on new characteristics.

Chords and Playability:

The inherent Fsus4(add6) sound of the open strings makes it a great starting point for melancholic or atmospheric pieces. Due to the unique intervals, standard barre chords will not directly translate. However, the presence of the root (F) and fifth (C) on strings 6 and 2, and 6 and 1 respectively, allows for easy access to F-based power chords on the lower strings if desired, though the intervening A# and D will need to be muted or incorporated. Exploring shapes around the open A# and D notes will yield interesting voicings. For instance, fret a C on string 4 (5th fret) to resolve the D, or experiment with melodic lines that emphasize the suspended nature of the A# notes.

How to Tune:

To achieve the "emo again thing" tuning, start from standard E Standard tuning (E-A-D-G-B-E) and adjust each string as follows:

• String 6 (Low E): Tune up 1 semitones to F2. (E to F)
• String 5 (A): Tune up 1 semitones to A#3. (A to A#)
• String 4 (D): Keep as is; no change (0 semitones) to D3. (D to D)
• String 3 (G): Tune up 3 semitones to A#4. (G to A#) Note: Tuning up 3 semitones is a significant adjustment. While generally safe for standard gauge strings, proceed with caution and ensure your guitar's neck relief is stable. If tuning up 4 or more semitones, a lighter gauge string might be advisable, but 3 semitones is typically acceptable.
• String 2 (B): Tune up 1 semitones to C4. (B to C)
• String 1 (High E): Tune up 1 semitones to F4. (E to F)

String 6: F2 (Low F)

String 5: A#3 (A sharp)

String 4: D3 (D)

String 3: A#4 (High A sharp)

String 2: C4 (Middle C)

String 1: F4 (High F)