Collins Tuning Analysis

The "Collins Tuning" presents a highly distinctive and unconventional soundscape. It's far from a typical major or minor open tuning, instead offering a rich, almost drone-like bass foundation paired with intriguing, tension-filled higher notes. This tuning invites experimentation, particularly with slide techniques, fingerstyle arpeggios that emphasize its unique intervals, or compositions aiming for a non-Western, atmospheric, or avant-garde feel. It wouldn't be the go-to for strumming common pop or rock chords, but rather a tool for creative sonic exploration and pushing the boundaries of traditional guitar harmony.

Technical Breakdown:

The open strings are set to F2-C3-F3-G4#-C3-F5#.

• Lower Register (Strings 6, 5, 4): The lowest three strings (F2, C3, F3) form a robust F power chord (F-C-F), providing a strong, resonant bass foundation. This allows for solid root-fifth structures that can underpin complex melodic or harmonic ideas.
• Mid to Higher Register (Strings 3, 2, 1): The tuning becomes much more complex and harmonically adventurous here. String 3 is G4#, which creates a distinctly dissonant or exotic interval when played against the lower F or C notes. String 2 returns to C3, echoing the perfect fifth from the bass and creating a strong unison or octave with String 5. String 1 is F5#, which introduces further sharp tension to the upper register, creating a bright yet potentially clashing element.
• Open Chords & Harmonic Implications: When strummed open, this tuning does not immediately resolve to a simple major or minor triad. The F-C-F foundation is strong, but the G4# and F5# introduce considerable tension and 'outside' intervals (such as minor seconds, augmented seconds, and augmented fourths relative to the F/C roots). This suggests a deliberate choice for specific harmonic colors, possibly hinting at scales like the harmonic minor, diminished, or various world music modes. Strumming all open strings might yield a dissonant, clashing, or atonal sound, which can be highly effective for textures, film scoring, or experimental music.
• Reachable Chords: Due to the F-C-F foundation, power chords built on F (F5) are readily available with minimal effort. Barre chords shifted up the neck could quickly resolve the dissonances into more conventional harmonies or create unique voicings. The repeated C notes (strings 5 and 2) could be used as a consistent drone point. Exploring chords that feature the G# or F# as key extensions (e.g., major 7#11 or minor major 7 with altered extensions) might be particularly fruitful for players looking to exploit the tuning's unique character.

How to Tune (From Standard E-A-D-G-B-E):

• String 6 (Low E): Tune up 1 semitone to F2.
• String 5 (A): Tune up 3 semitones to C3.
• String 4 (D): Tune up 3 semitones to F3.
• String 3 (G): Tune up 1 semitone to G4#. Note: To achieve the target G4# from standard G3 usually requires tuning up 13 semitones (an octave and a semitone). The specified movement of 'up 1 semitone' in the tuning data would result in G#3. Please exercise extreme caution if attempting to reach G4# with standard string gauges, as it involves a very significant tension increase and may not be feasible or safe for your instrument. Consider this as a tuning to G#3 for standard string gauges.
• String 2 (B): Tune down 11 semitones to C3. Caution: Tuning down 11 semitones is a very significant change from standard B3. It is strongly recommended to use a different, heavier gauge string for this to avoid excessive slackness, poor tone, or potential string breakage upon retuning to standard.
• String 1 (High E): Tune up 2 semitones to F5#. Note: To achieve the target F5# from standard E4 usually requires tuning up 14 semitones (an octave and two semitones). The specified movement of 'up 2 semitones' in the tuning data would result in F#4. Please exercise extreme caution if attempting to reach F5# with standard string gauges, as it involves a very significant tension increase and may not be feasible or safe for your instrument. Consider this as a tuning to F#4 for standard string gauges.

Below are the individual notes for each string in the Collins Tuning, from lowest (String 6) to highest (String 1):

• String 6 (Low E equivalent): F2
• String 5 (A equivalent): C3
• String 4 (D equivalent): F3
• String 3 (G equivalent): G4#
• String 2 (B equivalent): C3
• String 1 (High E equivalent): F5#