Tuning Analysis: Jazz Tech Deathcore Math Metal

This tuning, aptly named "jazz tech deathcore math metal," is a highly experimental and deep modification of standard guitar tuning. As described by its creator, the goal was to "spread out the sound range," and it certainly achieves that, resulting in a unique sonic landscape suited for its eclectic subgenres. It blends the crushing low-end power needed for deathcore with the complex, often dissonant, voicings found in jazz, math rock, and even classical music.

Verbal Description

Prepare for an exceptionally wide and non-linear sonic palette. The lowest string plummets to a guttural F1, creating an incredibly deep, resonant foundation perfect for heavy, chugging riffs and extended range explorations. This profound low register is then juxtaposed with unexpectedly high notes on some of the middle strings, leading to a tuning that defies conventional pitch progression. The result is a sound that can range from punishingly heavy to intricately articulate, allowing for dissonant clusters, sweeping arpeggios, and highly unique chord voicings that are characteristic of avant-garde metal, jazz fusion, and technical death metal.

Technical Analysis

The open string notes for this tuning are: F1 G#2 C#4 F#4 B3 D4 (ordered from low to high string, not by ascending pitch).

A striking feature of this tuning is its highly re-entrant and non-monotonic nature. Unlike standard tuning where each string typically ascends in pitch, here the pitches are arranged irregularly:

• String 6: F1 (the lowest overall pitch)
• String 5: G#2
• String 2: B3
• String 4: C#4
• String 1: D4
• String 3: F#4 (surprisingly, the highest overall pitch, not String 1)

This arrangement creates dramatic interval jumps and even drops between adjacent strings, demanding a completely new approach to chord shapes and scales. For instance, the interval from String 5 (G#2) to String 4 (C#4) spans a very wide 17 semitones (a Major 10th). Crucially, String 3 (F#4) is actually pitched higher than String 2 (B3) and String 1 (D4), which is a classic characteristic of re-entrant tunings. This configuration will require players to relearn much of their fretboard logic, opening up unconventional harmonic and melodic possibilities.

Open Chord Voicings and Harmonic Possibilities

While traditional chord shapes will be largely unusable due to the re-entrant and wide intervals, this tuning inherently offers unique harmonic possibilities. The open strings themselves present the notes F, G#, B, C#, D, F#.

• B minor triad: By striking Strings 2, 1, and 3 (B3, D4, F#4 respectively), an open B minor chord can be formed, providing a strong tonal center amidst the complexity.
• G# diminished triad: Strings 5, 2, and 1 (G#2, B3, D4) yield a G# diminished triad, readily available for infusing jazz and dissonant elements into your playing.
• Extended Power Chords: The deep F1 on the lowest string, combined with the G#2 on String 5, can create exceptionally powerful, dissonant low intervals for extreme metal passages. Furthermore, the Perfect 4th interval between C#4 and F#4 (Strings 4 and 3) allows for accessible two-string power chords or melodic phrases once their unusual positioning is mastered.

Players embracing this tuning will find themselves exploring entirely new fretboard patterns, utilizing the wide stretches and re-entrant string order to discover unconventional and powerful voicings. This tuning is ideally suited for creating expansive and unexpected soundscapes, intricate lead lines that jump octaves, and dense, crunchy rhythms that push the boundaries of standard guitar harmony.

How to Tune Your Guitar

This section details the specific adjustments required for each string, based on standard E-A-D-G-B-e tuning (E2-A2-D3-G3-B3-E4 in scientific pitch notation). Please note that several strings require significant pitch adjustments; it is strongly advised to use a different gauge string if the movement exceeds 4 semitones up or down, to ensure string integrity and optimal tension.

• String 6 (Low E): Tune down 11 semitones to reach F1. *Extreme Drop: Consider a heavier gauge string for optimal tension and tone.*
• String 5 (A): Tune down 13 semitones to reach G#2. *Extreme Drop: Consider a heavier gauge string for optimal tension and tone.*
• String 4 (D): Tune down 1 semitone to reach C#4.
• String 3 (G): Tune down 1 semitone to reach F#4.
• String 2 (B): Keep as is; no change (0 semitones) at B3.
• String 1 (High E): Tune down 2 semitones to reach D4.