F-Drone Suspension

This unique tuning, known as "FA#FFBE" and specifically used for Kit - JulieBand, presents a compelling sonic landscape with prominent open F notes and intriguing intervallic relationships. It's a tuning that suggests a blend of stability and tension, ideal for experimental, ambient, or alternative rock styles.

Verbal Analysis

The core of this tuning is built around a strong F foundation, with three F notes present: F2 on the 6th string and F3 on both the 4th and 3rd strings. This creates a powerful, droning quality, especially with the unison Fs in the middle, allowing for rich sustained textures or percussive rhythmic patterns. The A#3 (effectively Bb3) on the 5th string introduces a 'suspended' harmonic feel, moving away from a traditional major or minor sound into something more open, perhaps melancholic or driving. The higher strings, B3 and E4, maintain a standard perfect fourth interval between themselves but introduce significant tension when combined with the lower F notes. The F to B interval forms a tritone, a dissonant yet expressive interval. This unique combination of stable Fs, the suspended A# (Bb), and the bright, tension-adding B and E creates a versatile tuning for crafting distinctive harmonic textures and exploring new melodic pathways. It would be excellent for pieces that require a full, resonant low end complemented by a slightly dissonant yet evocative upper register.

Technical Analysis

• Overall Voicing: The open strings are F2, A#3, F3, F3, B3, E4.
• Intervallic Relationships (Low to High):
  • 6th string (F2) to 5th string (A#3): An augmented 11th (18 semitones), creating a very wide, open harmonic space.
  • 5th string (A#3) to 4th string (F3): A perfect 5th down (7 semitones), or inverted, a perfect 4th up.
  • 4th string (F3) to 3rd string (F3): Unison, providing a strong, resonant drone potential.
  • 3rd string (F3) to 2nd string (B3): A tritone (augmented 4th, 6 semitones), adding significant harmonic tension.
  • 2nd string (B3) to 1st string (E4): A perfect 4th (5 semitones), a familiar interval from standard tuning.
• Open Chords / Harmonies: While not a conventional major or minor chord, the open strings (F A# F F B E) strongly suggest an F suspended 4th chord (Fsus4) on the lower strings (F-A#-F-F, where A# functions as Bb). The presence of B and E on the higher strings adds a complex, often dissonant, extension, potentially implying an Fmaj7#11 or Fmaj13 with added tension. Playing just the 6th, 5th, 4th, and 3rd strings yields a powerful Fsus4 sound, which can be great for driving rhythms or atmospheric pads. The tuning's structure makes it relatively easy to find power chords and suspended voicings with minimal fingering, and the unison Fs offer great drone opportunities.

How to Tune (from Standard EADGBe)

Please exercise caution, especially when tuning strings up multiple semitones. While none of the changes exceed the range where a different gauge string is generally advised (>+/- 4 semitones), tuning up 3 semitones on the 4th string should always be done with care.

• 6th String (Low E2): Tune up 1 semitone from E2 to F2.
• 5th String (A2): Tune up 1 semitone from A2 to A#2.
• 4th String (D3): Tune up 3 semitones from D3 to F3. (Note: Exercise care when tuning up 3 semitones.)
• 3rd String (G3): Tune down 2 semitones from G3 to F3.
• 2nd String (B3): Keep as is; no change from B3 (0 semitones).
• 1st String (High E4): Keep as is; no change from E4 (0 semitones).

• String 6: F2
• String 5: A#3
• String 4: F3
• String 3: F3
• String 2: B3
• String 1: E4