The "Allan’s Fmaj7" tuning is a rich and expressive open tuning, primarily designed for a guitar, often utilized in lap steel playing. As its name suggests, the open strings collectively form a vibrant F Major 7th chord (F-A-C-E), providing a full and resonant sound when strummed openly.

Technical Analysis

This tuning transforms the standard E Standard tuning into F2 C3 F3 A3 C4 E4. Breaking down the intervals from the lowest F2, we find:

• String 6 (low E string becomes) F2 (Root)
• String 5 (A string becomes) C3 (Perfect 5th)
• String 4 (D string becomes) F3 (Octave of the Root)
• String 3 (G string becomes) A3 (Major 3rd)
• String 2 (B string becomes) C4 (Octave of the Perfect 5th)
• String 1 (high E string becomes) E4 (Major 7th)

This arrangement neatly spells out an Fmaj7 chord, offering a lush harmonic foundation. A particularly interesting aspect of this tuning, as described, is its internal structure: the lower three strings (F2, C3, F3) form an F major triad, while the upper three strings (A3, C4, E4) form an A minor triad. This duality provides unique possibilities for voicings and melodic interplay, allowing for easy access to both the Fmaj7 sound and an implied A minor harmony, creating a sophisticated and versatile palette for improvisation and composition.

Chords and Playability

With all strings played open, the guitar immediately produces a rich Fmaj7 chord, ideal for creating expansive ambient textures or as a solid base for slide guitar. Due to its open chord structure, sliding a bar across any fret will instantly generate a major 7th chord corresponding to that fret (e.g., 1st fret yields F#maj7, 3rd fret yields G#maj7/Abmaj7). The presence of the A minor triad on the higher strings suggests that arpeggiated figures and melodic lines focusing on A minor will naturally fit within the tuning's harmonic context, offering interesting contrasts or complements to the Fmaj7. The open intervals make it very conducive to exploring melodic lines and unique chord voicings with minimal finger movement.

How to Tune

To achieve Allan’s Fmaj7 tuning from standard EADGBe, follow these string adjustments. Please exercise care, especially when tuning strings up multiple semitones, as this increases string tension. Generally, tuning up 3 or 4 semitones requires careful attention. For movements exceeding 4 semitones up or down, considering a different string gauge might be advisable, though this tuning does not exceed that threshold. Note that the instructions indicate tuning 'up' even for 0 semitones for consistency, meaning no change.

• String 6 (Low E): Tune up 1 semitone from E2 to F2.
• String 5 (A): Tune up 3 semitones from A2 to C3. (Exercise care with this adjustment.)
• String 4 (D): Tune up 3 semitones from D3 to F3. (Exercise care with this adjustment.)
• String 3 (G): Tune up 2 semitones from G3 to A3.
• String 2 (B): Tune up 1 semitone from B3 to C4.
• String 1 (High E): Keep as is; no change (0 semitones) from E4 to E4.

The open notes for Allan’s Fmaj7 tuning are as follows:

• String 6: F2
• String 5: C3
• String 4: F3
• String 3: A3
• String 2: C4
• String 1: E4