This unique tuning, known as "Open" from The Cure's album "Wish," creates a dark, expansive, and somewhat ambiguous sonic landscape. It deviates significantly from standard tuning, allowing for a distinctive harmonic texture that is characteristic of the band's atmospheric soundscapes. The arrangement of notes fosters a sense of melancholic grandeur, perfect for droning arpeggios and sustained chords.

Verbal Analysis

The overall feel of this tuning is rich and dissonant in an artful way. The two highest strings being tuned to the same A# (Bb) creates a strong, ringing drone effect that can feel both haunting and ethereal. The lower strings establish a broad, open foundation, often suggesting minor or suspended harmonies, but with an underlying tension. It's a tuning designed for atmosphere and mood, rather than conventional chord progressions, inviting exploration of open string voicings and sustained tones.

Technical Analysis

The open strings present the notes: G2, A2, F3, G3, A#4 (Bb4), A#4 (Bb4). Analyzing the intervals from the lowest G (G2):

• String 6 (G2): Root
• String 5 (A2): Major 2nd above G
• String 4 (F3): Minor 7th above G (or the root of a secondary harmony, hinting at Fmaj7sus2/G)
• String 3 (G3): Octave above String 6
• String 2 (A#4/Bb4): Minor 3rd above G, or a tritone (augmented 4th) above F (String 4)
• String 1 (A#4/Bb4): Unison with String 2

The open strings essentially spell out notes from a G Phrygian or F Dorian mode (G-A-Bb-C-D-Eb-F-G or F-G-Ab-Bb-C-Db-Eb-F, where some notes might be implied). More simply, it contains F, G, A, and Bb. This combination doesn't form a conventional major or minor triad but rather hints at suspended or extended chords. The stacked A# (Bb) on the highest strings is a defining characteristic, providing a powerful harmonic tension, especially against the F and G in the lower register. This tuning lends itself to modal playing and droning, where the interplay of these specific notes creates its unique character.

Open Chords and Harmonic Possibilities

While not designed for standard chord shapes, the open strings offer resonant voicings and easy access to certain harmonies:

• Open G suspended/minor feel: The G, A, F, G, Bb, Bb open strings can create a rich Gsus2 or Gminor11 (G-Bb-D-F-A-C, without the D and C) like harmony with a distinctive character. The G-Bb relationship is strong.
• F major/Lydian implications: With F as a central note (String 4), the A (String 5) suggests an F Major third, but the Bb (A#) on top provides a Lydian or even b5 tension. An Fsus2 or Fsus4 with an added G bass is readily available.
• Drones and Arpeggios: The double A# (Bb) on the highest strings is perfect for droning, allowing for melodic exploration on the lower strings against this sustained note. Arpeggiating the open strings will yield the signature sound of this tuning.
• Accessible Shapes: Simple barre chords higher up the neck, focusing on the G, A#, F, G, A#, A# structure, will produce unique voicings. For example, barring across all strings at the 5th fret would yield a D minor-like voicing (D-E-A-D-F-F) but with the unique open string tensions below. Sliding two fingers across the 5th and 6th strings at various frets, combined with the open F, G, and A# on the higher strings, will reveal interesting dissonances and consonances.

How to Tune (Standard EADGBe to GA#FGA#A#)

This tuning requires significant adjustments from standard EADGBe. Please tune carefully and consider string gauges for optimal performance, especially for the first and sixth strings:

• 6th String (Low E): Tune up 3 semitones from E to G2. (Caution is advised when tuning up this significantly; a slightly heavier gauge string might be beneficial for maintaining tension and preventing breakage.)
• 5th String (A): Keep as is; no change (0 semitones) to A2.
• 4th String (D): Tune up 3 semitones from D to F3. (Caution is advised when tuning up this significantly; a slightly heavier gauge string might be beneficial for maintaining tension and preventing breakage.)
• 3rd String (G): Keep as is; no change (0 semitones) to G3.
• 2nd String (B): Tune down 1 semitone from B to A#4 (Bb4).
• 1st String (High E): Tune down 6 semitones from E to A#4 (Bb4). (This is a very significant drop in pitch. It is highly recommended to use a heavier gauge string for the first string to maintain proper tension and tone, as a standard high E string will be extremely slack and potentially unplayable.)