Tuning Analysis: G# F C# A F# D

This is a highly unconventional and experimental tuning for the Guitar, explicitly designed by the creator with the goal of making "easy to find an A note." The resulting string configuration is unique, featuring significant pitch inversions between adjacent strings and a wide range of notes across the fretboard. This tuning will require a complete re-learning of chord shapes and scale patterns, opening up new sonic possibilities for adventurous players.

Verbal Observations

The most striking aspect of this tuning is its non-linear and non-ascending nature. Unlike standard or even most open tunings where strings generally ascend in pitch from lowest to highest string, here we find a zig-zagging pattern. String 5 (F1) is actually lower in pitch than String 6 (G#1), String 3 (A2) is lower than String 4 (C#3), and String 1 (D4) is lower than String 2 (F#4). This creates a highly complex harmonic landscape where traditional chord voicings are impossible, encouraging exploration of new intervallic relationships and dissonant textures. The presence of A2 on the third string might indeed make it easy to find an A note as intended, but the surrounding notes create a distinct and challenging environment. The overall sound, when strummed open, will likely be very dissonant and dense, suggesting a focus on single-note lines, arpeggios, or very specific, hand-crafted chord shapes.

Technical Observations

The open notes of this tuning, from String 6 (lowest string) to String 1 (highest string), are G#1, F1, C#3, A2, F#4, D4. When ordered by actual pitch (lowest to highest frequency), the sequence is F1, G#1, A2, C#3, D4, F#4. This reveals a hexatonic collection of notes: F, G#, A, C#, D, F#. Notable intervals between adjacent strings (from lower numbered string to higher numbered string):

• String 6 (G#1) to String 5 (F1): F1 is 3 semitones lower than G#1.
• String 5 (F1) to String 4 (C#3): C#3 is 18 semitones higher than F1 (equivalent to 2 octaves and a major third).
• String 4 (C#3) to String 3 (A2): A2 is 5 semitones lower than C#3.
• String 3 (A2) to String 2 (F#4): F#4 is 20 semitones higher than A2 (equivalent to 1 octave and a major sixth).
• String 2 (F#4) to String 1 (D4): D4 is 3 semitones lower than F#4.

The extreme pitch variations and non-ascending nature make this tuning a formidable challenge for players accustomed to standard or even common altered tunings. This is not a 'chord-friendly' open tuning in the traditional sense, but it offers a unique harmonic palette for experimental music. The open notes do not immediately form a common major or minor chord, but the combination of F1 (String 5), A2 (String 3), and C#3 (String 4) could be interpreted as an F augmented triad (F - A - C#). Adding the D4 (String 1) and G#1 (String 6) further expands this into a highly specific and complex sonority, perhaps implying a dissonant F-based harmony.

How to Tune (from Standard EADGBe)

Please exercise extreme caution when adjusting string tension, especially for significant upward changes. For movements exceeding 4 semitones up or down, considering a different string gauge is highly recommended to prevent string breakage or damage to your instrument.

• String 6 (Low E): Tune down 5 semitones. (This is a substantial drop. Considering a heavier gauge string might be beneficial for tension and tone.)
• String 5 (A): Tune down 1 semitones.
• String 4 (D): Tune up 2 semitones.
• String 3 (G): Tune up 5 semitones. (This is a significant increase in tension. A lighter gauge string is strongly advised to prevent breakage.)
• String 2 (B): Tune up 4 semitones. (This is a significant increase in tension. A lighter gauge string is advised.)
• String 1 (High E): Tune up 7 semitones. (This is a very drastic increase in tension, a perfect fifth up. A significantly lighter gauge string or even a different type of string is strongly advised to avoid breakage and potential instrument damage.)

Given the extreme tension changes on several strings, it is crucial to monitor your guitar's neck relief after tuning and make truss rod adjustments if necessary. Be gentle and tune incrementally.

String 6: G#1

String 5: F1

String 4: C#3

String 3: A2

String 2: F#4

String 1: D4