The FBDACE Tuning

Verbal Analysis

The FBDACE tuning (F2-B2-D3-A3-C4-E4) presents a wonderfully unique and rich harmonic landscape. As its original description notes, it features an A minor triad (A-C-E) beautifully laid out across the top three strings (3rd, 2nd, 1st strings), making open A minor chords and related voicings immediately accessible and resonant. Below this, the bottom three strings (6th, 5th, 4th strings) reveal a B diminished sound (B-D-F), creating a striking tension or an intriguing harmonic foundation.

When strummed open, this tuning produces a complex chord, potentially an Fmaj7#11 (F-A-C-E-B-D) or an Am(add b6, 9, 11) depending on how you perceive the root. The tritone interval between the low F (6th string) and B (5th string) contributes to a sense of dramatic tension and open-endedness, inviting exploration beyond conventional chord shapes. This tuning leans towards textures often found in jazz, fusion, or more experimental fingerstyle arrangements, where its inherent dissonance can be used to great effect.

The clear A minor triad on top makes it relatively easy to navigate melodies and familiar chord voicings within the A minor key or its relative C major, simply by focusing on the higher strings. However, the unique intervals on the lower strings will encourage players to rethink their approach to bass lines and power chords, leading to fresh and unexpected sonic discoveries. Chords like open Am, C, Em (by fretting the low F to G), and Dm (by fretting the B to D, and F to A) can be found with altered voicings, making this a versatile, albeit challenging, tuning to master for creative expression.

Technical Analysis

The FBDACE tuning deviates significantly from standard EADGBe, establishing a unique intervallic structure:

• Between 6th (F2) and 5th (B2) strings: Augmented 4th / Tritone (6 semitones)
• Between 5th (B2) and 4th (D3) strings: Minor 3rd (3 semitones)
• Between 4th (D3) and 3rd (A3) strings: Perfect 5th (7 semitones)
• Between 3rd (A3) and 2nd (C4) strings: Minor 3rd (3 semitones)
• Between 2nd (C4) and 1st (E4) strings: Major 3rd (4 semitones)

The tuning creates a distinct two-part harmony: a B diminished triad (B-D-F) on the lower three strings (root B is on the 5th string) and an A minor triad (A-C-E) on the upper three strings (root A is on the 3rd string). This arrangement facilitates a strong melodic and harmonic independence between the bass and treble registers. The presence of a perfect 5th (D-A) within the middle strings offers some familiarity, but the surrounding minor 3rds, major 3rd, and tritone largely dictate a departure from conventional chord voicings. The string movements, primarily tuning up, suggest that for optimal playability and string longevity, a lighter gauge string set might be beneficial, especially for the 5th and 3rd strings which are tuned up by 2 semitones.

Tuning Notes

• String 6 (Low E equivalent): F2
• String 5 (A equivalent): B2
• String 4 (D equivalent): D3
• String 3 (G equivalent): A3
• String 2 (B equivalent): C4
• String 1 (High E equivalent): E4

How to Tune (FBDACE)

To achieve the FBDACE tuning, carefully adjust each string according to the following instructions. Please note the recommendations for string gauge based on significant tension changes.

• String 6: Tune up 1 semitone to F2. (Minor adjustment; standard string gauge should be fine.)
• String 5: Tune up 2 semitones to B2. (Moderate adjustment; if tuning up frequently, consider a slightly lighter gauge string.)
• String 4: Keep as is; no change (0 semitones) to D3.
• String 3: Tune up 2 semitones to A3. (Moderate adjustment; if tuning up frequently, consider a slightly lighter gauge string.)
• String 2: Tune up 1 semitone to C4. (Minor adjustment; standard string gauge should be fine.)
• String 1: Keep as is; no change (0 semitones) to E4.

Important Note on String Gauge: When tuning strings up by 3 or 4 semitones or more, or down by 4 semitones or more, it is generally advised to use a different gauge string. For this FBDACE tuning, while no individual string exceeds the 4-semitone threshold for mandatory gauge change, the 5th and 3rd strings are tuned up by 2 semitones. Repeated tuning to this setup might benefit from a slightly lighter gauge string for those specific strings to reduce tension on the neck and strings over time. Always listen to your instrument and adjust string gauge if you notice discomfort or excessive tension.