The Open Fsus4 Deep Tuning: A Powerful and Resonant Soundscape

The "Open Fsus4 Deep" tuning is a unique and resonant setup for the guitar, designed to deliver a rich, full-bodied sound when strummed open. As its name suggests, it immediately invokes an F suspended 4th chord (F-Bb-C), but with an intriguing distribution of notes across the fretboard that leans into a deep, almost orchestral character. The original description hints at it being "like an open tuning and a drop D but a step up," which captures the essence of its low-end power combined with a bright, open tonality.

Verbal Analysis:

Imagine a sound that's both grounding and ethereal. With a low F2 as its foundation, this tuning offers a profound bass response, making it excellent for heavy riffs, atmospheric soundscapes, or even fingerstyle compositions that demand a full sonic spectrum. The open chord rings out as a strong Fsus4, providing a sense of anticipation and breadth that can be both melancholic and uplifting. The unusual interval on the A#3 (Bb3) string, along with the two consecutive F3 notes on the middle strings, creates a dense and harmonically rich core. This setup encourages droning notes and allows for powerful, wide voicings with minimal effort. While the open Fsus4 is prominent, moving to an open F major or F minor is just a slight fret change away (e.g., fretting the 2nd string at the first fret to change C4 to C#4 would hint at Fmaj, or to Db4 for Fmin, which will resolve the sus4). Power chords are easily accessible on the lower strings, and barres across the neck will effortlessly transpose the Fsus4 chord up and down the fretboard.

Technical Analysis:

• Tuning Notes (Low to High): F2 A#3 F3 F3 C4 F4 (enharmonically F2 Bb3 F3 F3 C4 F4).
• Interval Structure from Root (F):
  • 6th String (F2): Root
  • 5th String (A#3/Bb3): Perfect 4th (P4) - one octave above standard A string's expected P4 if it were Bb2
  • 4th String (F3): Octave (P8)
  • 3rd String (F3): Octave (P8) - a remarkable doubling of the octave F
  • 2nd String (C4): Perfect 5th (P5)
  • 1st String (F4): Double Octave (P15)
• This tuning is an Open F suspended 4th (Fsus4), consisting of F, Bb, and C, with multiple octaves of F and a doubled F3. The high F4 provides a shimmering top end.
• The presence of two consecutive F3 notes on strings 3 and 4 creates a thick, harmonically rich core that will provide exceptional sustain and body to chords.
• The low F2 combined with the high F4 offers a two-octave range for the root, giving immense depth.

Tuning Notes:

• 6th String: F2 (Low F)
• 5th String: A#3 (A sharp in the 3rd octave, enharmonically Bb3)
• 4th String: F3 (Middle F)
• 3rd String: F3 (Middle F)
• 2nd String: C4 (Middle C)
• 1st String: F4 (High F)

How to Tune:

To achieve the "Open Fsus4 Deep" tuning from standard EADGBe, follow these steps. (Note: Standard tuning is E2 A2 D3 G3 B3 E4 from low to high).

• 6th String (Low E): Tune up 1 semitone from E2 to F2.
• 5th String (A): Tune up 1 semitone from A2. This will result in A#2. (Note: The final tuning specifies A#3 for this string. Tuning a standard A2 up by 1 semitone yields A#2. Achieving A#3 would require an additional octave jump, which is not reflected in the provided 1-semitone movement. This may indicate an intended A#2, or a need for a significantly different string gauge and very careful tuning if A#3 is the goal.)
• 4th String (D): Tune up 3 semitones from D3 to F3. (Caution: Tuning up 3 semitones is a significant increase in tension; proceed carefully.)
• 3rd String (G): Tune down 2 semitones from G3 to F3.
• 2nd String (B): Tune up 1 semitone from B3 to C4.
• 1st String (High E): Tune up 1 semitone from E4 to F4.

Important Note on String Tension: Generally, tuning strings up by 3 or more semitones, or down by 4 or more semitones, can significantly alter string tension. For movements of this magnitude, especially when exceeding 4 semitones in either direction, it is often advisable to consider a different gauge string to prevent breakage and maintain playability. The tuning of the 4th string (D up 3 semitones) should be done with care. For the 5th string, if the goal is truly A#3 from a standard A2, this represents a substantial change (13 semitones) that is not recommended with standard strings and would absolutely require a specialized string gauge or alternative approach.