This unique guitar tuning, named "F Minor Suspended Fourths", is described by its creator as "very fun". It offers a deep, resonant sound with a strong, complex harmonic character, perfect for creating rich soundscapes, intricate melodic lines, or driving rhythmic patterns. The tuning leans towards a modal or bluesy feel, making it suitable for a wide range of genres from folk and indie rock to ambient and experimental music.

Technical Analysis

The open strings of your guitar are tuned to the following notes: F2, A#3, F3, A#4, D4, D#5.

• Low F Drone: The lowest string (6th) is tuned to F2, providing a powerful, deep root note that anchors the entire tuning.
• Open Harmony: The open strings (F-A#-F-A#-D-D#) translate to F-Bb-F-Bb-D-Eb. This creates a rich, complex open chord that can be interpreted in several ways. It strongly features the notes of a Bb Major triad (Bb-D-F) over a low F, with the distinctive addition of an Eb. This configuration can be heard as an F minor suspended fourth chord (Fsus4(add6, b7)), offering a sound that is simultaneously open, melancholic, and full of harmonic potential.
• Intervals: Between adjacent strings, this tuning presents a dynamic interplay of intervals:
  • Between String 6 (F2) and String 5 (A#3): Augmented 4th (plus an octave)
  • Between String 5 (A#3) and String 4 (F3): Perfect 4th down
  • Between String 4 (F3) and String 3 (A#4): Augmented 4th (plus an octave)
  • Between String 3 (A#4) and String 2 (D4): Major 6th down
  • Between String 2 (D4) and String 1 (D#5): Minor 2nd (plus an octave)
• Chord Voicings: The open tuning itself forms a unique and resonant chord. Due to the repeating F-A# (Bb) relationship and the prominent F root, simple two-finger chord shapes or even single-finger barring across specific strings will yield interesting harmonies. The open string configuration lends itself well to drone playing, slide guitar, and creating melodic phrases that interact harmonically with the open notes.

How to Tune

To achieve the "F Minor Suspended Fourths" tuning from standard EADGBe, follow these string movements:

• 6th String (Low E): Tune up 1 semitone to F2.
• 5th String (A): Tune up 1 semitone to A#3.
• 4th String (D): Tune up 3 semitones to F3.
• 3rd String (G): Tune up 3 semitones to A#4.
• 2nd String (B): Tune up 3 semitones to D4.
• 1st String (High E): Tune down 1 semitone to D#5.

Important Note on String Tension: Please be mindful when tuning. Movements of 3 semitones up, while generally acceptable, are nearing the threshold where string gauge considerations become more important. For changes exceeding 4 semitones up or down, it is generally advised to consider using a different string gauge to maintain optimal playability and string integrity.

String 6 (Low E): Tuned up 1 semitone to F2, providing a deep, foundational root note.

String 5 (A): Tuned up 1 semitone to A#3 (Bb3), adding a crucial suspended fourth interval to the F root.

String 4 (D): Tuned up 3 semitones to F3, reinforcing the F root an octave higher and adding body to the open chord.

String 3 (G): Tuned up 3 semitones to A#4 (Bb4), an octave above the 5th string, creating a rich harmonic resonance.

String 2 (B): Tuned up 3 semitones to D4, introducing a major sixth (or thirteenth) above the F root, which is also the third of the Bb triad.

String 1 (High E): Tuned down 1 semitone to D#5 (Eb5), providing a minor seventh from the F root, adding a distinctive bluesy or dominant quality to the overall harmony.