This is a deeply resonant and complex low tuning, essentially an Open F#maj7. As the original description notes, this tuning is significantly lower than standard, recommending either a baritone guitar or much thicker strings. It offers a rich, full-bodied sound perfect for creating expansive soundscapes, heavy riffs, or intricate jazz-fusion voicings.

Technical Analysis

The open strings lay out the notes F#2 C#3 F#3 A#3 F3 A#4. This configuration provides a complete F#maj7 chord, with some notes duplicated across octaves:

• String 6 (F#2): The root note, providing a deep, powerful foundation.
• String 5 (C#3): The perfect fifth, adding stability to the chord.
• String 4 (F#3): An octave of the root, reinforcing the fundamental.
• String 3 (A#3): The major third, giving the chord its major quality.
• String 2 (F3): The major seventh, contributing the characteristic "maj7" color and a sophisticated tension.
• String 1 (A#4): An octave of the major third, providing brightness and extension.

The intervals between the strings are quite varied, ranging from a perfect fifth (F#2-C#3), perfect fourth (C#3-F#3), and major third (F#3-A#3). Notably, there are also wider intervals like an augmented fourth (tritone) between A#3 and F3, and between F3 and A#4 (an octave plus a tritone, F3 to A#3 is a tritone). These intervals create a unique, slightly dissonant yet compelling quality to the open chord, making it harmonically interesting and rich.

Chordal Opportunities

With the open strings forming an F#maj7, barring across any fret will instantly yield another major 7th chord in a parallel voicing (e.g., barring at the 1st fret yields Gmaj7, 2nd fret yields G#maj7, etc.). This makes it incredibly easy to transpose the core sound. The wide intervallic jumps, especially towards the higher strings, can facilitate interesting arpeggios and open voicings. Experimenting with two-finger shapes or partial barres will unlock a vast array of chords, particularly dominant 7ths, minor 7ths, and even altered dominant voicings due to the inherent complexity of the F#maj7 structure. The extreme low tuning is also ideal for power chords on the bottom strings, creating a massive, guttural sound.

How to Tune

Due to the extreme nature of this downtuning, it is crucial to approach this process carefully and consider the recommendation for thicker strings or a baritone guitar, as noted in the original description. All string movements exceed the typical +/- 4 semitones for standard gauges. Always tune slowly and check string tension.

• String 6 (Low E): Tune down 10 semitones to F2#. (Original E2. This is a very significant drop. A heavier gauge string is essential.)
• String 5 (A): Tune down 8 semitones to C3#. (Original A2. A heavier gauge string is essential.)
• String 4 (D): Tune down 8 semitones to F3#. (Original D3. A heavier gauge string is essential.)
• String 3 (G): Tune down 9 semitones to A3#. (Original G3. A heavier gauge string is essential.)
• String 2 (B): Tune down 6 semitones to F3. (Original B3. A heavier gauge string is essential.)
• String 1 (High E): Tune down 6 semitones to A4#. (Original E4. A heavier gauge string is essential.)

Consider professional setup for optimal playability and intonation with such extreme tuning.