The FCGDAE Fourths Tuning is a remarkably unique and technically intriguing setup for the guitar, specifically designed to offer a fresh harmonic landscape and simplified fretboard navigation for certain melodic and harmonic concepts. As its name suggests, and as per the technical description, this tuning largely features intervals of perfect fourths between adjacent strings, creating a highly consistent and logical layout across much of the fretboard.

Verbal Analysis

Musically, this tuning provides a distinct character, moving away from the more common major and minor open chords found in standard tuning. The open strings - F2, C3, G2, D3, A3, E4 - offer a rich palette of natural notes. This setup is particularly appealing to players looking to explore jazz voicings, modal playing, or experimental soundscapes, as it allows for easier visualization of scale patterns and symmetrical chord shapes. The consistent fourths (F-C, G-D, D-A, A-E) mean that many chord shapes and scale fingerings can be directly transposed across different string sets, fostering rapid adaptability and new creative avenues.

However, a significant and unique aspect of this tuning is the interval between the 5th string (C3) and the 4th string (G2). While most other adjacent strings are tuned a perfect fourth up, the 4th string (G2) is tuned a perfect fourth down from the 5th string (C3). This means the G string is actually lower in pitch than the C string above it, creating an interesting melodic and harmonic "dip" in the middle of the guitar. This inversion challenges conventional playing techniques and demands a thoughtful approach, but also opens up possibilities for unique inversions and voicings that are difficult or impossible to achieve in standard tuning.

Technical Analysis & Chords

The tuning's structure (F2-C3-G2-D3-A3-E4) is a series of predominantly perfect fourths, making it a powerful tool for developing new theoretical understanding of the fretboard. The open strings themselves do not form a single simple chord, instead presenting a complex, extended sonority containing elements from various scales. For instance, the lowest three strings (F-C-G) form an Fsus2 chord, providing a strong tonal center, while the upper strings (D-A-E) can imply an E minor or A major tonality. The entire open string voicing could be perceived as a complex Cmaj13sus2(no 3rd) or similar extended harmony.

Due to the consistent fourths (excluding the C3-G2 dip):

• Power Chords: Root-fifth power chords are easily formed by playing two adjacent strings on the same fret, or by moving one fret up on the lower string, due to the perfect fourth interval. This consistency makes power chord shapes intuitive across most of the fretboard.
• Triads and Sevenths: While standard triad shapes will need adjustment, the consistent intervals allow for new, symmetrical fingerings for major, minor, and seventh chords that can be moved chromatically and vertically with greater ease. The exception will always be the 5th and 4th string pair.
• Open Chords and Resonances: The open strings provide a strong foundation for keys such as C major, G major, F major, A minor, and D minor, as many of their diatonic notes are available as open strings. This allows for rich, ringing voicings and drones. Examples include:
  • An open C major chord can be formed using C3 (string 5), G2 (string 4), and E4 (string 1).
  • An open G major chord can utilize G2 (string 4) and D3 (string 3).
  • F major can be built around F2 (string 6) and C3 (string 5).
• Melodic Playing: Scale patterns, particularly those built on fourths (like quartal harmony), become very ergonomic to play, encouraging linear, intervallic approaches to improvisation.

This tuning is an excellent choice for guitarists seeking to break free from conventional patterns and explore a distinct, harmonically versatile sound.

Tuning Notes (Low to High)

• String 6 (Lowest String): F2
• String 5: C3
• String 4: G2
• String 3: D3
• String 2: A3
• String 1 (Highest String): E4

How to Tune (from Standard EADGBe)

Please note: Standard guitar strings are designed for specific tension ranges. Significant changes in pitch (more than 4 semitones up or down) may require a different string gauge to ensure optimal playability and avoid potential string breakage or intonation issues. Use a reliable tuner for accuracy.

• String 6 (Low E): Tune up 1 semitone from E2 to F2. (No special gauge needed.)
• String 5 (A): Tune up 3 semitones from A2 to C3. (No special gauge needed.)
• String 4 (D): Tune down 7 semitones from D3 to G2. This is a significant drop. A heavier gauge string may be advisable to maintain tension and tone.
• String 3 (G): Tune down 5 semitones from G3 to D3. This is a significant drop. A heavier gauge string may be advisable to maintain tension and tone.
• String 2 (B): Tune down 2 semitones from B3 to A3. (No special gauge needed.)
• String 1 (High E): Keep as is; no change (0 semitones) from E4 to E4. (No special gauge needed.)