Verbal Analysis

This unique tuning, known as "FADACF Capo on Fret 1", is designed to create an exceptionally rich and harmonically complex open chord. When the guitar is tuned to the specified open pitches (F# A# D# A# C# F#) and a capo is then placed on the first fret, the open strings resonate as a vibrant Open G Major 6th (Gadd6) chord (G B E B D G). Without the capo, the base tuning itself presents a compelling Open F# Major 6th (F#add6) sound. This configuration delivers a full, lush, and sophisticated sound, making it particularly well-suited for slide guitar, intricate fingerstyle arrangements, or powerful, resonant strumming. The thoughtful repetition of notes (A# and F# without capo, B and G with capo) across different octaves creates a thick, sustained drone, while the inclusion of the Major 6th interval adds a distinctive, modern, and expansive quality to the overall harmony. The wide sonic range, stretching from the low F# (which becomes G with the capo) to the high F# (also G with the capo), provides a broad and expressive canvas for musical exploration.

Technical Analysis

The core tuning, which establishes the foundational pitches before any capo application, sets the open strings to the following absolute notes:

• 6th String (Low E string equivalent): F#3
• 5th String (A string equivalent): A#3
• 4th String (D string equivalent): D#4
• 3rd String (G string equivalent): A#4
• 2nd String (B string equivalent): C#5
• 1st String (High E string equivalent): F#5

This arrangement forms an F# Major 6th chord (F#add6). The individual notes on each string function as follows within this chord:

• F#3: Root
• A#3: Major 3rd
• D#4: Major 6th
• A#4: Major 3rd (an octave higher than the 5th string)
• C#5: Perfect 5th
• F#5: Root (an octave higher than the 6th string)

The specific intervals between adjacent open strings contribute significantly to the tuning's unique character:

• 6th to 5th String: Major 3rd (F# to A#)
• 5th to 4th String: Perfect 4th (A# to D#)
• 4th to 3rd String: Augmented 4th / Diminished 5th (D# to A#) - This interval creates a distinct tension and harmonic interest.
• 3rd to 2nd String: Major 3rd (A# to C#)
• 2nd to 1st String: Perfect 4th (C# to F#)

With the recommended capo placed on the first fret, the *sounding* open strings are transposed up by one semitone, resulting in:

• G4
• B4
• E4
• B4
• D5
• G5

This effectively transforms the tuning into an Open G Major 6th chord (Gadd6), providing a bright, full, and resonant soundscape ideal for various musical applications.

Chords and Playability

With the capo on the first fret, the open tuning offers an immediate and powerful Gadd6 chord, creating a lush foundation for improvisation and composition. This makes the tuning incredibly versatile for transposing, as simply barring across any fret above the capo will produce other Major 6th chords (e.g., barring the 2nd fret above the capo yields an Aadd6 chord, and the 3rd fret a B-flat add6). The arrangement of the D and B notes on the 2nd and 3rd strings (when capoed) facilitates relatively easy access to various voicings of G, C, and D chords. The repetitive nature of the B and G notes across different octaves encourages the creation of captivating drone effects and flowing arpeggiated patterns. Simple two-finger shapes can be moved up and down the neck to construct various major, minor, and dominant 7th chords, leveraging the resonant open strings as drones to enrich the overall harmony. This tuning encourages a creative and intuitive approach to chord voicings and melodic development, especially within blues, folk, or rock contexts.

How to Tune

To achieve the "FADACF Capo on Fret 1" tuning from standard EADGBe, please follow these precise string movements. It is highly recommended to use an electronic tuner for the best accuracy.

• 6th String (Low E): Tune up 2 semitones from E to target note F#3.
• 5th String (A): Tune up 1 semitone from A to target note A#3.
• 4th String (D): Tune up 1 semitone from D to target note D#4.
• 3rd String (G): Tune up 3 semitones from G to target note A#4.
• 2nd String (B): Tune up 2 semitones from B to target note C#5.
• 1st String (High E): Tune up 2 semitones from E to target note F#5.

Note: All string movements for this tuning are within a manageable range (no more than 3 semitones up). While generally safe, always exercise care when adjusting string tension. For tunings requiring movements exceeding 4 semitones up or down, considering a different string gauge is advisable, but it is not necessary for this particular tuning.

Here are the target notes for each string in this specific tuning:

• 6th String: F#3
• 5th String: A#3
• 4th String: D#4
• 3rd String: A#4
• 2nd String: C#5
• 1st String: F#5