Tuning Overview: fgagbe

The "fgagbe" tuning presents a highly unconventional and expressive sonic landscape for the guitar. It diverges significantly from standard tuning, offering a dark, resonant, and often ethereal quality, making it suitable for experimental, ambient, or progressive musical styles. The unique arrangement of notes creates intriguing harmonic possibilities and an open, sometimes sparse, feel.

Technical Breakdown:

• Open String Notes: F2 G2 A2 G3 B2 E4 (from low E to high E string).
• Interval Relationships:
  6th (F2) to 5th (G2): Major 2nd
  5th (G2) to 4th (A2): Major 2nd
  4th (A2) to 3rd (G3): Minor 7th (up 10 semitones, or an inverted Major 2nd an octave higher)
  3rd (G3) to 2nd (B2): Descending Perfect 5th (down 7 semitones) - This is particularly unique, placing a much lower note on a conventionally higher string.
  2nd (B2) to 1st (E4): Compound Major 10th (Major 3rd + an octave, up 16 semitones)
• Harmonic Implications: The tuning features several interesting aspects:
  A "G" drone effect with G2 and G3 on the 5th and 3rd strings.
  A clear Fmaj7 chord fragment (F-A-E) can be found across the 6th, 4th, and 1st strings.
  The G-B-E on the 5th, 2nd, and 1st strings forms a G Major triad.
  The stacked major seconds (F-G-A) on the lowest strings provide a distinct open, suspended quality.
  The significant drop on the 2nd string (G3 to B2) creates a dramatic open interval and a deep, resonant tone in a register typically reserved for higher notes, offering unique textural opportunities.

Chords and Playability:

An open strum of this tuning produces a rich, complex sonority that can be interpreted as a Gmaj9sus4 (G A B E F) or a more ambiguous modal cluster. The open strings naturally form a G Major triad (G-B-E) and parts of an F Major 7th (F-A-E). Fingering chords will require a fresh approach due to the non-standard intervals. Barring across the lower F-G-A strings might yield interesting suspended or extended chords. The wide interval between the 3rd (G3) and 2nd (B2) strings will encourage open, sparse voicings and can create dramatic harmonic tension or release. This tuning lends itself well to arpeggiated figures and melodic lines that emphasize these unique string relationships.

How to Tune:

To achieve this unique tuning, follow these adjustments from standard EADGBe:

• 6th String (Low E): Tune up 1 semitone to F2.
• 5th String (A): Tune down 2 semitones to G2.
• 4th String (D): Tune down 5 semitones to A2.
• 3rd String (G): Keep as is; no change (0 semitones) to G3.
• 2nd String (B): Tune down 12 semitones to B2.
• 1st String (High E): Keep as is; no change (0 semitones) to E4.

Important Note: The significant tuning down of the 4th string (5 semitones) and especially the 2nd string (12 semitones, a full octave) will drastically reduce string tension. For optimal playability, intonation, and to prevent string floppiness or potential damage to your instrument's setup, it is highly recommended to use heavier gauge strings for these specific strings. Consult a guitar technician if you plan to use this tuning frequently or with standard string sets.

6th String: F2 - The lowest string is tuned up to F in the second octave, providing a deep foundational note.

5th String: G2 - The fifth string is tuned down to G in the second octave, creating a Major 2nd interval with the 6th string.

4th String: A2 - The fourth string is tuned down to A in the second octave, continuing the pattern of Major 2nds on the lower strings.

3rd String: G3 - The third string remains at G in the third octave, establishing a resonant octave with the 5th string (G2).

2nd String: B2 - The second string is drastically tuned down to B in the second octave, placing it significantly lower than the 3rd string (G3) and creating a unique, deep voice in a typically higher register.

1st String: E4 - The highest string remains at E in the fourth octave, offering a familiar bright high-end.