This unique and highly experimental guitar tuning, known as "October All Over," was famously used by the band Unwound in their song of the same name. Originating from their distinctive post-hardcore and noise rock sound, this tuning is far from conventional, designed to create a specific, dissonant, and deeply resonant soundscape.

Verbal Analysis

The "October All Over" tuning immediately strikes with its extreme intervallic relationships and the dramatic re-pitching of the second string. The low 'B' string, dropped a full octave to B2, becomes an exceptionally deep, almost bass-like drone, creating a stark contrast with the surrounding strings. This particular adjustment suggests a focus on creating wide, open, and potentially unsettling harmonies or melodic lines rather than traditional chord voicings. The overall sound is likely to be expansive, noisy, and atmospheric, allowing for rich overtones and deep sonic textures, characteristic of Unwound's innovative approach to guitar work. It's a tuning that prioritizes unique sonic palettes and tension over conventional melodic and harmonic structures.

Technical Analysis

Starting from the lowest string to the highest, the tuning is: F#3 A2 E3 G4# B2 F#5. This departs significantly from standard E Standard tuning (E2 A2 D3 G3 B3 E4).

Key technical observations include:

• Dissonant Intervals: The most prominent feature is the B2 on the second string. Relative to a standard B string, this is a drop of an entire octave. This creates massive leaps in pitch: a major 13th from G4# (3rd string) down to B2, and an astounding perfect 19th from B2 up to F#5 (1st string). These extreme intervals ensure that the open strings do not form a conventional chord, instead creating a wide, open, and often dissonant resonance.
• Root Notes: The open strings contain the notes F#, A, E, G#, B. The presence of F# at both the lowest and highest strings creates a resonant F# drone or tonal center. The notes E, G#, B on the 4th, 3rd, and 2nd strings (E3, G4#, B2) hint at an E Major triad, but the B2 is so low that it profoundly recontextualizes this relationship.
• Chordal Implications: While the open strings do not form a straightforward major or minor chord, elements of common chords are present:
  • An E Major triad (E, G#, B) is available, albeit with the B an octave lower than typically found in an open E chord.
  • F# and A on the lower strings (F#3, A2) hint at an F# minor context.
  • The overall open sound is likely a suspended or ambiguous chord, perhaps hinting at an F#sus4add9 or a similar complex voicing, emphasizing tension and wide sonic fields. This tuning is designed for textural exploration and unique melodic patterns rather than traditional strumming.

This tuning is ideal for players looking to explore non-standard harmonies, create rich, expansive soundscapes, and delve into the experimental side of guitar music.

Tuning Notes (from low E to high e)

String 6 (Low E): F#3
String 5 (A): A2
String 4 (D): E3
String 3 (G): G4#
String 2 (B): B2
String 1 (High e): F5#

How to Tune Your Guitar

Please follow these instructions carefully. Note that significant string tension changes are involved. For movements of 4 semitones or more (up or down), a different string gauge might be advisable to maintain optimal tension and prevent string breakage, especially for upward tuning, or excessive floppiness for large downward tunings.

• String 6 (Low E): Tune up 2 semitones to F#3. (Movement: +2 semitones)
• String 5 (A): Keep as is; no change from A2. (Movement: 0 semitones)
• String 4 (D): Tune up 2 semitones to E3. (Movement: +2 semitones)
• String 3 (G): Tune up 1 semitone to G4#. (Movement: +1 semitone)
• String 2 (B): Tune down 12 semitones to B2. This is a very significant drop (a full octave). This string will be considerably looser, and for optimal playability and tone, a much heavier gauge string is strongly advised. (Movement: -12 semitones)
• String 1 (High e): Tune up 2 semitones to F5#. (Movement: +2 semitones)