This unique tuning, known as "bite", as referenced in the provided data and its description hinting at "Rabbit TTNG on the album animals avec la guitare et tout", presents a highly unconventional and experimental setup for the guitar. Its nature suggests a profound departure from traditional harmonic structures, leaning towards dissonant or atmospheric soundscapes.

Verbal Analysis

The overall feel of the "bite" tuning is one of sharpness, intrigue, and unpredictability. With its open notes of F2, G#3, D#4, F3, A#4, and D#5, the open strings create a dense, somewhat dissonant texture that immediately commands attention. This tuning is explicitly not designed for playing standard open chords; instead, it invites extensive exploration of unique voicings, sustained open string drones, and possibly highly effective slide techniques. The broad and non-monotonic intervals between strings—such as the dramatic drop in pitch from the 4th string (D#4) to the 3rd string (F3) and the subsequent large leap upwards to the 2nd string (A#4)—will fundamentally alter how the fretboard is perceived and played. It is likely to be favored by musicians seeking avant-garde sounds, complex and unexpected harmonies, or simply a fresh, challenging approach to arpeggios, melodic lines, and textural compositions.

Technical Analysis

The tuning consists of the following notes from the lowest (6th) string to the highest (1st) string: F2, G#3, D#4, F3, A#4, D#5. This is a non-standard and notably non-monotonic tuning, meaning that the pitch does not consistently rise from lower-numbered strings to higher-numbered strings. Key technical observations include:

• Disjointed Intervals: The intervals between adjacent strings are exceptionally varied and include significant leaps and drops in pitch, breaking away from conventional guitar tuning patterns. For instance, the jump from String 6 (F2) to String 5 (G#3) is a compound minor third (15 semitones), String 4 (D#4) to String 3 (F3) involves a descending minor seventh (10 semitones down), and String 3 (F3) to String 2 (A#4) is a compound major third (17 semitones up). These large and irregular jumps make the application of traditional chord shapes impossible without re-envisioning fingerings entirely.
• Repeated Notes and Drones: A distinctive feature of this tuning is the presence of octave pairings for specific notes: F (F2 on String 6 and F3 on String 3) and D# (D#4 on String 4 and D#5 on String 1). These open octaves can serve as powerful sonic anchors, providing resonance for melodic phrases, or creating rich, sustained drone capabilities within the tuning.
• Open Voicings: When all open strings are strummed, the combined notes of F, G#, D#, and A# are present across multiple octaves. This collection of pitches does not readily form a conventional tertian triad or seventh chord, but rather creates a rich, dissonant cluster that can be interpreted in various experimental harmonic contexts, offering a strong foundation for abstract or atmospheric music.

While standard open chords are not readily available in this tuning, the presence of these F and D# octaves allows for powerful open F and D# power chords or deep, resonant drone-like textures when utilizing these specific strings. Furthermore, the highly unusual intervals open up unique possibilities for arpeggios and melodic patterns that would be entirely impossible in standard tuning, facilitating intriguing harmonic movement with minimal fretting and a focus on string skipping or wide stretches.

Tuning Notes

Here are the specific notes for each string in the "bite" tuning:

• String 6 (Low E Equivalent): F2
• String 5 (A Equivalent): G#3
• String 4 (D Equivalent): D#4
• String 3 (G Equivalent): F3
• String 2 (B Equivalent): A#4
• String 1 (High E Equivalent): D#5

How to Tune

To achieve the "bite" tuning from a standard EADGBe setup, carefully follow these precise instructions for each string, based on the provided string movement data:

• String 6 (Low E): From its standard tuning of E2, tune up 1 semitone to reach the target note of F2.
• String 5 (A): From its standard tuning of A2, tune down 1 semitone to reach the target note of G#3.
• String 4 (D): From its standard tuning of D3, tune up 1 semitone to reach the target note of D#4.
• String 3 (G): From its standard tuning of G3, tune down 2 semitones to reach the target note of F3.
• String 2 (B): From its standard tuning of B3, tune down 1 semitone to reach the target note of A#4.
• String 1 (High E): From its standard tuning of E4, tune down 1 semitone to reach the target note of D#5.

Note: Ensure your guitar's intonation is checked after making any significant tuning changes. Always tune carefully and gradually, avoiding abrupt adjustments, especially when moving pitches upwards to prevent string breakage.