This intriguing tuning, named G1 All Fifths, presents a unique approach to the standard six-string guitar. As its name and description suggest, it aims for the "highest all fifths tuning playable on a standard-scale six-string," creating a consistent and symmetrical fretboard experience across most of its range.

Verbal Analysis

Unlike standard tuning, where intervals vary (fourths, major third), this tuning largely features perfect fifths between its open strings. This leads to a highly logical and predictable layout on the fretboard, making patterns and scales easily transferable across different string sets. The overall pitch range is vast, with the lower strings significantly dropped and the highest string pushed to an extreme. This provides a deep, resonant low end coupled with a piercing, bright high end, ideal for experimental sounds, intricate arpeggios, and dense harmonic textures. The challenge, however, lies in adapting traditional chord shapes to this new symmetrical landscape and managing string tension due to the radical changes.

Technical Analysis

The open string notes are configured as G1-D2-A2-E3-B3-F5# (low to high).

• The first five strings (G1-D2-A2-E3-B3) are indeed tuned in perfect fifths, maintaining a consistent 7-semitone interval between each pair. This is a hallmark of "all fifths" tunings, known for their consistency and ease of transposing musical ideas.
• However, a significant deviation occurs on the highest string. The interval between the 2nd string (B3) and the 1st string (F5#) is 19 semitones, which is equivalent to a perfect fifth plus an additional octave (B3 to F#4 is a perfect fifth; B3 to F5# is an octave above that). This makes the highest string exceptionally high-pitched and creates a very wide, perhaps unexpected, leap in an otherwise perfectly symmetrical tuning. This extreme jump is likely what allows it to be the "highest all fifths tuning," but technically breaks the "all fifths" pattern for the highest interval.

Chordal Possibilities

Due to the pervasive perfect fifth intervals across the first five strings, this tuning excels in power chords and open, resonant voicings.

• Open Chords: Strumming all open strings (G1-D2-A2-E3-B3-F5#) creates a complex, extended harmony. While not a simple major or minor chord, it contains elements of G major (G, B, D) and E minor (E, G, B), with the A, D, and F# adding significant extensions and color. The F5# adds a very bright and sharp texture, creating a sound akin to Gmaj7(#11) or a similar dense, open voicing.
• Power Chords: Any two adjacent lower strings (6th to 2nd) can easily form a power chord (root-fifth) by fretting the same fret. For example, fretting the 5th fret on strings 6 and 5 yields C5. This consistent spacing makes rapid power chord changes effortless and provides a strong, driving rhythmic foundation.
• Modal Voicings: The symmetrical nature of the tuning lends itself well to modal playing and the creation of open, sparse harmonies. Chord shapes will be highly consistent across the fretboard, making it intuitive to transpose ideas up and down the neck.
• Extended Harmonies: The wide overall range and the exceptionally high F5# on the first string facilitate very open and ringing extended chords, where individual notes sustain and blend, offering unique harmonic possibilities for adventurous players.

Current Tuning Notes (Low to High)

• String 6: G1
• String 5: D2
• String 4: A2
• String 3: E3
• String 2: B3
• String 1: F5#

How to Tune (from Standard EADGBe)

Please exercise caution when tuning, especially with significant pitch changes. For movements exceeding 4 semitones up or down, considering a different gauge string is highly recommended to maintain optimal playability and prevent string breakage.

• String 6 (Low E): Tune this string to G1. This involves tuning down 9 semitones from its standard E2 pitch. Recommendation: A heavier gauge string is strongly advised for this significant drop in tension, as tuning down 9 semitones can cause a standard string to become too slack.
• String 5 (A): Tune this string to D2. This involves tuning down 7 semitones from its standard A2 pitch. Recommendation: A heavier gauge string is advised for this substantial drop in tension.
• String 4 (D): Tune this string to A2. This involves tuning down 5 semitones from its standard D3 pitch. Recommendation: A heavier gauge string is advised for this notable drop in tension.
• String 3 (G): Tune this string to E3. This involves tuning down 3 semitones from its standard G3 pitch. This is a moderate change and generally safe for standard gauges.
• String 2 (B): The target note for this string is B3. This means there is no change (0 semitones) from its standard B3 pitch. It remains at its default pitch.
• String 1 (High E): The target note for this string is F5#. This is achieved by tuning the string up 2 semitones from its standard E4 pitch. While the numerical semitone change is minor (2 semitones up), the resulting F5# is an extremely high pitch. A lighter gauge string might be beneficial for playability and tension balance, though not strictly required based on semitone movement alone.