The Drop F# Standard tuning, while bearing a name that might suggest a lower pitch, presents a fascinating and powerful modification to the familiar landscape of standard guitar tuning. It maintains the comfortable intervals of standard tuning across the higher five strings (A D G B E), offering immediate familiarity for many chord shapes and scales.

However, its defining characteristic lies in the lowest string, which is tuned up two semitones from a standard E to an F#.

Verbal Analysis

This tuning provides a unique sonic foundation, delivering an "extra oomph" as its description suggests. By raising the lowest string to F#, it introduces a tighter, more resonant low end that's perfect for driving riffs and heavy musical passages. The higher tension on this string can enhance attack and clarity, particularly for those looking to push the boundaries of their low-frequency response without delving into entirely dropped or altered tunings. It retains the melodic and harmonic possibilities of standard tuning on the upper strings, allowing for a blend of familiar lead work and a distinct, powerful bass register.

Technical Analysis

The open string notes for this tuning are: F#3 A2 D3 G3 B3 E4 (from low to high).

• The intervals from string 5 to 1 (A-D-G-B-E) mirror those of standard tuning, meaning all standard chord shapes and scales typically played on these strings will remain consistent and accessible.
• The primary alteration is the 6th string, tuned to F#3. This creates a minor third interval between the 6th (F#3) and 5th (A2) strings.

Chordal Implications:

• Standard Chords (1st-5th strings): Open chords and barre chords that do not utilize the 6th string will remain exactly as they are in standard tuning (e.g., A Major, D Minor, G Major, C Major, E Minor played without the low E).
• Power Chords: The minor third interval between the 6th and 5th strings requires a re-evaluation of common power chord shapes. A traditional root-5th-octave power chord rooted on the 6th string will no longer be formed by fretting the 6th and 5th strings at the same fret, or by simply moving up two frets. For an F# power chord, you'd play the open 6th string (F#), and then fret the 5th string at the 4th fret (C#) and the 4th string at the 4th fret (F#). This creates a powerful, wide voicing.
• Open Voicings: The open strings (F# A D G B E) do not form a conventional triad. However, the presence of D, G, B, E (parts of D, G, E minor chords) along with the F# and A opens up possibilities for unique droning and modal voicings, particularly in keys related to F#, A, or D. An F# minor sound can be achieved with the open F# and A.
• This tuning is particularly suited for heavy rock, metal, or experimental genres where a robust, lower-pitched foundation is desired while retaining the flexibility of standard tuning for lead and rhythm guitar work on the upper strings.

How to Tune to Drop F# Standard

To achieve the Drop F# Standard tuning, follow these specific adjustments for each string, starting from a standard EADGBe tuning (assuming E3-A2-D3-G3-B3-E4 as your base for the purposes of these movements):

• String 6 (Low E): Tune up 2 semitones to achieve F#3. This adjustment moves the string from an E3 to F#3.
• String 5 (A): Keep as is; no change (0 semitones). This string remains at A2.
• String 4 (D): Keep as is; no change (0 semitones). This string remains at D3.
• String 3 (G): Keep as is; no change (0 semitones). This string remains at G3.
• String 2 (B): Keep as is; no change (0 semitones). This string remains at B3.
• String 1 (High E): Keep as is; no change (0 semitones). This string remains at E4.

Note on String Gauge: While this tuning primarily involves a minor adjustment on the lowest string, significant tuning changes (typically exceeding 4 semitones up or down) often warrant considering a different string gauge for optimal tension and string life. The tuning up of 2 semitones for String 6 is generally well within the safe range for a standard heavy gauge low E string.