Verbal Analysis

The '6 String Hunter' tuning presents a deeply resonant and somewhat dark soundscape, moving far beyond standard guitar voicings. Its low G-C-F foundation offers a powerful, almost orchestral bottom end, perfect for heavy riffs, atmospheric soundscapes, or experimental music. The presence of two Fs (F2 and F3) an octave apart adds a rich, droning quality that will resonate beautifully. However, the true character emerges in the higher strings: an exceptionally wide augmented 11th interval (18 semitones) between String 3 (F3) and String 2 (A#4), followed by a highly unusual descending interval (a diminished 5th or augmented 4th) from String 2 (A#4) to String 1 (D4). This creates a unique harmonic tension and necessitates a completely different approach to playing, rewarding exploration over traditional chord shapes. It feels raw, untamed, and ripe for expressive, unconventional playing, particularly suited for genres demanding a distinct, weighty sonic signature.

Technical Analysis

The open string notes for '6 String Hunter' are G1, C2, F2, F3, A#4, D4. This tuning deviates significantly from standard EADGBe, creating these intervals between adjacent open strings:

• String 6 (G1) to String 5 (C2): A Perfect 4th (P4).
• String 5 (C2) to String 4 (F2): Another Perfect 4th (P4).
• String 4 (F2) to String 3 (F3): A full Octave (P8). This wide interval provides a strong, resonant drone and allows for open, ringing voicings.
• String 3 (F3) to String 2 (A#4): An Augmented 11th (18 semitones). This is an exceptionally wide and tense interval for adjacent strings, making traditional chord shapes virtually impossible but opening up highly unique harmonic possibilities.
• String 2 (A#4) to String 1 (D4): A descending Diminished 5th (or Augmented 4th), with D4 being 8 semitones lower than A#4. This is a very uncommon and challenging interval direction for adjacent strings, demanding innovative fingerings and offering truly distinct voicings, particularly in higher registers.

Open Chord Potential & Harmonic Implications

The open strings G1, C2, F2, F3, A#4 (often notated as Bb4), D4 form a complex harmony. These notes strongly suggest a G minor 7th chord (G-Bb-D-F) with an added C (creating a G minor 11th if the D was present), or a C minor 7th chord (C-Eb-G-Bb) with an added D (C minor 9th, missing Eb and the 5th). The overall tonality is distinctly minor and dark, with a powerful, somewhat dissonant edge due to the specific intervals, especially the A# (Bb) and D on the higher strings interacting with the Fs below. The two Fs provide a strong tonal center for moments of resolution, while the surrounding notes create tension. While standard open chords are not readily available, the tuning offers immense potential for:

• Power Chords and Drones: The low G-C-F makes for incredibly heavy power chords. The repeated F allows for sustained drones and rich low-end harmonies.
• Unique Arpeggios: The wide and descending intervals will force players to develop unconventional arpeggio patterns, leading to fresh melodic and harmonic ideas.
• Experimental Voicings: Sliding or barring across the strings will produce non-standard clusters and chords, ideal for ambient textures, metal, or avant-garde compositions. Chords like an open G minor 11 (G-C-F-Bb-D) are inherently available across the strings, offering a deep, brooding quality.

Here are the target notes for each string of the '6 String Hunter' tuning:

• String 6 (Lowest): G1
• String 5: C2
• String 4: F2
• String 3: F3
• String 2: A#4
• String 1 (Highest): D4

How to Tune

To achieve the '6 String Hunter' tuning, adjust your guitar strings from standard tuning (EADGBe) as follows. Please take care when making significant adjustments. The below instructions specify the target note and the required movement:

• String 6 (Low E string): Tune to G1. This requires tuning down 4 semitones.
• String 5 (A string): Tune to C2. This requires tuning down 4 semitones.
• String 4 (D string): Tune to F2. This requires tuning down 4 semitones.
• String 3 (G string): Tune to F3. This requires tuning down 2 semitones.
• String 2 (B string): Tune to A#4. This requires tuning down 1 semitone.
• String 1 (High E string): Tune to D4. This requires tuning down 2 semitones.

Important Note on String Gauge: While none of the individual string movements exceed a negative 4 semitone adjustment, three strings require tuning down by 4 semitones (String 6, 5, and 4). For optimal playability, string tension, and to prevent buzzing with these significantly lowered pitches, particularly on the lowest strings, considering a heavier gauge string set is highly recommended.