Verbal Analysis

The FGCFAE tuning, as described, is genuinely unique and designed for exploratory playing. Its "weirdness" stems from a blend of familiar and unusual intervals, offering a soundscape that is neither strictly major nor minor but possesses a rich, open quality. It encourages a departure from standard chord shapes, inviting players to experiment with drones, arpeggios, and less conventional harmonies. The open strings resonate with a bright, almost folk-like character, yet hold the potential for complex, shimmering textures.

Technical Analysis

This tuning significantly alters the guitar from standard EADGBe, with five of the six strings being adjusted. The arrangement of notes F2 G2 C3 F3 A3 E4 presents a unique set of intervals and harmonic possibilities:

Open String Intervals (from low to high):

• 6th String (F2) to 5th String (G2): Major 2nd (2 semitones)
• 5th String (G2) to 4th String (C3): Perfect 4th (5 semitones)
• 4th String (C3) to 3rd String (F3): Perfect 4th (5 semitones)
• 3rd String (F3) to 2nd String (A3): Major 3rd (4 semitones)
• 2nd String (A3) to 1st String (E4): Perfect 5th (7 semitones)

Open Chords and Harmonic Implications:

The open strings F, G, C, F, A, E collectively contain elements of both F Major 7th (F, A, C, E) and C Major (C, E, G). This creates a highly resonant and somewhat complex sound when strummed openly. Specifically, the presence of F, A, C, E strongly suggests an Fmaj7 chord, with the added G acting as a 9th. Thus, the open tuning could be perceived as an Fmaj9 (F, A, C, E, G) with a doubled F root. The C and E on the middle strings (C3 and E4) along with G2 provide a clear C Major triad, further enriching the harmonic palette.

The two Perfect 4ths in the middle strings (G-C-F) lend themselves well to sustained, drone-like playing, while the Major 3rd (F-A) and Perfect 5th (A-E) on the higher strings offer bright, melodic possibilities. The distinct Major 2nd (F-G) at the bottom provides a strong, somewhat dissonant, yet rich bass foundation. This tuning avoids the predictable intervals of standard tuning, offering a fresh harmonic landscape for improvisation and composition.

Chords Within Reach:

Due to the open string configuration, certain chord shapes become readily available or are formed directly by the open strings:

• Open Fmaj9: Strumming all open strings yields a full, rich chord (F-G-C-F-A-E), which can be interpreted as an F Major 9th with some suspension or as a complex Lydian voicing.
• C Major Triad: The G2, C3, and E4 strings (5th, 4th, 1st) form a clear C Major triad (G-C-E) in a non-standard voicing.
• F Major Triad: The F2, C3, F3, and A3 strings (6th, 4th, 3rd, 2nd) contain a strong F Major sound, particularly the F-A-C components.
• Easy Fretboard Exploration: The repeated F notes (6th and 3rd strings) provide convenient root references, making it easier to locate F-based chord shapes and scales. Simple barre chords or two-finger voicings across the open string clusters will likely yield interesting new sonorities that would be impossible or difficult in standard tuning.

How to Tune Your Guitar to FGCFAE

To achieve the FGCFAE tuning from standard EADGBe, follow these string adjustments. It's recommended to use a reliable tuner and tune carefully, especially when increasing string tension.

• Low E String (6th String): Tune the E2 string up to F2. This string needs to Tune up 1 semitones.
• A String (5th String): Tune the A2 string down to G2. This string needs to Tune down 2 semitones.
• D String (4th String): Tune the D3 string down to C3. This string needs to Tune down 2 semitones.
• G String (3rd String): Tune the G3 string down to F3. This string needs to Tune down 2 semitones.
• B String (2nd String): Tune the B3 string down to A3. This string needs to Tune down 2 semitones.
• High E String (1st String): Keep the E4 string as is. This string needs to Keep as is; no change (0 semitones).

Always tune carefully and progressively to avoid string breakage. While the adjustments for this specific tuning are relatively moderate (within 2 semitones up or down), generally, when tuning a string up by 3-4 semitones or down by 4 or more semitones, it's advisable to consider a different string gauge to ensure optimal tension and prevent potential damage to your instrument or strings.