Verbal Analysis

The "F A# Deep Chordal Tuning" is an incredibly deep, wide, and experimental tuning designed for a 9-string guitar. With its lowest note plunging to an astonishing F0, it delves into sub-bass frequencies rarely explored by guitars, laying a foundation for truly massive and resonant soundscapes. This tuning spans a vast three-octave range from F0 to F3, providing immense harmonic richness. The re-entrant nature of some strings (for example, String 9 being higher in pitch than String 8) suggests a highly unconventional and nuanced playing style, perhaps lending itself to complex arpeggiation or percussive techniques rather than standard chord forms. It is perfectly suited for genres demanding immense sonic weight and atmosphere, such as djent, doom metal, avant-garde, or experimental ambient music, where its deep rumble and wide harmonic palette can create a profoundly dark and immersive experience. As the original description hints, this tuning might indeed involve "a bunch of fuckery with new strings and fast picking" – suggesting it's for the adventurous player ready to push the boundaries of their instrument.

Technical Analysis

This 9-string tuning presents a unique and challenging open string configuration.

• Overall Pitch Range: The tuning spans from F0 (on String 8, the second thickest string) to F3 (on String 1, the thinnest string), encompassing a full three octaves. This extreme range allows for deeply voiced chords and widespread melodic lines.
• Open String Notes (Thickest to Thinnest String):
  • String 9: A#1
  • String 8: F0 (the absolute lowest note)
  • String 7: C1
  • String 6: F1
  • String 5: A#2
  • String 4: D2
  • String 3: G2
  • String 2: C3
  • String 1: F3
• Re-entrant Tuning: A striking feature is the re-entrant nature, where String 9 (A#1) is pitched higher than String 8 (F0), despite String 9 typically being the thickest gauge string. This creates distinct melodic possibilities and requires players to adapt their picking hand technique for string skipping and voicings.
• Open String Harmony: When all open strings are strummed, the collective pitches are F, A#, C, D, G across multiple octaves. This resolves into an Fsus4(add9, add6) chord (F - A# - C - D - G). This is a rich, harmonically ambiguous voicing, characterized by its openness and lack of a definitive major or minor quality. The strong presence of F and C provides a solid, resonant power chord foundation (F5), which is then enriched by the suspended 4th (A#), the 9th (G), and the 6th (D).
• Chordal Potential:
  • Open Chords: The Fsus4(add9, add6) voicing is inherently resonant. Experimenting with partial voicings, especially on the lower strings (F0, C1, F1 on strings 8, 7, 6 respectively), can create massive F5 or Fsus4 power chords with a huge low-end presence.
  • Movable Shapes: A simple barre across any fret will transpose the Fsus4(add9, add6) voicing, allowing for movable chord shapes that maintain the unique harmonic character of this tuning. However, the re-entrant nature will make traditional barre chords challenging and encourage unique fingerings.
  • Unique Voicings: Due to the re-entrant and wide intervals, standard chord shapes will be re-imagined. Players can discover unconventional voicings by treating groups of strings as distinct harmonic clusters, enabling intricate arpeggios, drones, and heavy, atmospheric riffing across the fretboard. The significant drops for individual strings make this tuning highly specialized.

How to Tune to F A# Deep Chordal Tuning

This tuning involves significant drops for almost all strings, extending far beyond typical standard tunings. Due to the extreme negative semitone movements (down 4 or more semitones), it is highly recommended to use significantly heavier gauge strings to maintain proper tension, intonation, and to prevent potential string breakage or damage to your instrument. For movements of 4 semitones or more, a different string gauge is generally advised.

• String 1 (Thinnest): Tune down 11 semitones to reach F3.
• String 2: Tune down 11 semitones to reach C3.
• String 3: Tune down 12 semitones to reach G2.
• String 4: Tune down 12 semitones to reach D2.
• String 5: Tune down 11 semitones to reach A#2.
• String 6: Tune down 11 semitones to reach F1.
• String 7: Tune down 11 semitones to reach C1.
• String 8: Tune down 13 semitones to reach F0. (This is an extremely significant drop, well over an octave, and absolutely requires a specialized heavy gauge string for proper tension and tone.)
• String 9 (Thickest): Tune down 3 semitones to reach A#1.