This unique tuning, aptly named the Flat Face Blues/Gospel Tuning, is an imaginative extension of the "thirds FACE tuning" concept, incorporating specific flattened notes (E-flat and B-flat, or D# and A# as tuned here). It's designed to evoke an "old timey sounding jazz or blues or maybe gospel" feel, and upon technical analysis, its structure strongly supports this musical character.

Technical Analysis: The Open Chord

The open strings of this tuning lay out a rich and complex voicing:

• 6th String: F2 (Root)
• 5th String: G#3 (Minor Third, A-flat)
• 4th String: C3 (Perfect Fifth)
• 3rd String: D#4 (Minor Seventh, E-flat)
• 2nd String: G#4 (Minor Third, A-flat - an octave higher than the 5th string)
• 1st String: A#4 (Major Ninth, B-flat)

When played open, these notes form an F minor 7 (add9) chord (F, Ab, C, Eb, Ab, Bb). This immediately provides a full, soulful, and melancholic minor jazz/blues tonality, making it incredibly expressive without fretting a single note. The duplicated minor third (G#3 and G#4) adds depth and body, while the major ninth (A#4) introduces a sophisticated harmonic tension typical of jazz and gospel music.

Verbal Analysis: Musical Character & Playability

Imagine strumming this tuning and immediately being transported to a smoky jazz club or a spirited gospel service. The inherent minor 7th sound, enriched with the 9th, creates a melancholic yet hopeful atmosphere. It's perfectly suited for fingerstyle arrangements where you want to articulate complex voicings, or for slide playing where the open chord provides a strong harmonic foundation. Because the open strings already form a complete minor 7th chord, simply barring across various frets will yield different minor 7th chords up and down the neck, opening up a world of melodic and harmonic possibilities for improvisation and composition in the minor mode. The wide interval spread between some strings (e.g., F2 to G#3) can lead to unique voicings and stretches, encouraging creative melodic lines and drone effects. Chords like Fmin7, Bbm7, Ebmaj7 (with appropriate fret positions) become easily accessible due to the intervallic relationships of the open strings.

How to Tune: Step-by-Step Guide

To achieve the Flat Face Blues/Gospel Tuning, you will adjust your strings from standard EADGBe tuning as follows. Please take care, especially with significant pitch changes, and consider string gauge recommendations to maintain optimal playability and guitar health.

• 6th String (Low E): Tune up 1 semitone from E2 to F2. This is a minor adjustment and should be safe for standard gauge strings.
• 5th String (A): Tune down 1 semitone from A3 to G#3. A minor adjustment, generally safe.
• 4th String (D): Tune down 2 semitones from D3 to C3. A moderate adjustment, generally safe.
• 3rd String (G): Tune down 4 semitones from G4 to D#4. This is a significant drop. While possible with standard strings, it's advisable to proceed with caution and monitor string tension. Tuning down this far may cause the string to feel a bit loose.
• 2nd String (B): Tune down 3 semitones from B4 to G#4. A moderate adjustment, generally safe.
• 1st String (High E): Tune down 6 semitones from E5 to A#4. This is a substantial drop. For this string, tuning down 6 semitones significantly reduces tension. While achievable, players may find a heavier gauge string provides better tone, sustain, and intonation stability. Exercise extreme caution, as large tuning changes can affect neck relief and string integrity.

Remember to always tune slowly and check your guitar's neck relief after making significant tuning adjustments to ensure your instrument remains in optimal playing condition.

6th String (Low E): F2
5th String (A): G#3
4th String (D): C3
3rd String (G): D#4
2nd String (B): G#4
1st String (High E): A#4