Tuning Overview: Fmaj7sus2add(#11)\C

This unique tuning, aptly named "F major 7 suspended second added sharpened 11th inverted C," was discovered during a period of creative exploration. As its creator notes, it is exceptionally well-suited for ambient soundscapes, allowing for long, drawn-out notes that resonate with depth and complexity.

Verbal Analysis

With its lowest string tuned to C2, this tuning provides a profoundly resonant foundation. The overall downward movement of all strings creates a looser feel, conducive to expressive bends, wide vibrato, and a generally 'slack' character that enhances sustain and harmonic richness. The name itself suggests a sophisticated harmonic palette, moving beyond simple triads to embrace richer, jazz-influenced voicings that are perfect for atmospheric and experimental music. The emphasis on suspended and extended harmonies allows for a vast, open sound that fills a room, ideal for creating vast sonic textures rather than sharp, percussive rhythms.

Technical Analysis

The open strings are tuned to C2-F2-C3-E3-G3-B3. These notes collectively form an F major 7 suspended 2nd chord with an added sharpened 11th, all voiced over a C bass. Let's break down the intervals and resulting harmony:

• The lowest C2 establishes a deep, grounding root.
• From C (the lowest note), the intervals are: C (R), F (P4), C (Octave), E (M3), G (P5), B (M7). This can be interpreted as a Cmaj7add11, emphasizing its rich, extended nature.
• When analyzed from the F root (as indicated in the tuning name), the open strings contain F, G, B, C, E. This perfectly constructs an Fmaj7sus2add(#11) chord (F-G-C forms Fsus2; adding E makes it Fmaj7sus2; adding B makes it Fmaj7sus2add#11). The lowest C2 acts as an inversion, giving it a prominent C bass note.

Chordal Possibilities and Voicings

• Open Chord: The open strings themselves form a beautiful, complex Fmaj7sus2add(#11) with a C bass, ideal for immediate, rich harmonic textures without fretting a single note.
• Lower Strings: The C2-F2-C3 on the three lowest strings creates a powerful and resonant C suspended 4th interval (C-F-C), which can serve as a strong drone or a foundational power chord variation.
• Upper Strings: The E3-G3-B3 on the higher strings forms an E minor triad, offering a melancholic yet consonant upper voice that contrasts beautifully with the lower strings' openness. This allows for interesting interplay by strumming only the top three strings.
• Bar Chords: Due to the unique open string intervals, barring across different frets will yield unusual and inspiring chord voicings. For instance, a full bar at the 5th fret would produce G-C-G-B-D-F#, which is a Gmaj7(#11) or Gmaj7sus4add9, maintaining a complex, extended harmony typical of this tuning.
• Drones and Melodies: The presence of strong C and F notes across the tuning makes it excellent for droning patterns, allowing single-note melodies to be played over a sustained, harmonically rich backdrop. This facilitates a meditative and expansive playing style.

This tuning encourages exploration beyond conventional chord shapes, inviting players to discover new harmonic landscapes suitable for progressive rock, jazz fusion, cinematic scoring, and experimental music genres.

Tuning Notes and How to Tune Your Guitar

To achieve the Fmaj7sus2add(#11)\C tuning, you will need to adjust each string from standard E-A-D-G-B-E (low to high) as follows. Please exercise caution when tuning, especially with significant drops in pitch. Always tune up to a note to ensure stability, rather than down.

Open String Notes:

• 6th String: C2
• 5th String: F2
• 4th String: C3
• 3rd String: E3
• 2nd String: G3
• 1st String: B3

How to Tune:

• 6th String (Low E): Tune down 4 semitones from its standard E2 pitch to C2. As this is a significant drop (-4 semitones), using a heavier gauge string is strongly advised for optimal tone, tension, and to help prevent potential fret buzz.
• 5th String (A): Tune down 4 semitones from its standard A2 pitch to F2. This is a substantial drop (-4 semitones); a heavier gauge string might be beneficial here to maintain proper playability and sound quality.
• 4th String (D): Tune down 2 semitones from its standard D3 pitch to C3. This is a moderate adjustment.
• 3rd String (G): Tune down 3 semitones from its standard G3 pitch to E3. This is a notable drop.
• 2nd String (B): Tune down 4 semitones from its standard B3 pitch to G3. Given this significant drop (-4 semitones), a heavier gauge string is recommended for better playability and sound.
• 1st String (High E): Tune down 5 semitones from its standard E4 pitch to B3. This is a very considerable drop (-5 semitones), and using a much heavier gauge string is strongly advised to maintain proper tension and tone, and to prevent the string from feeling overly slack or prone to buzzing.

Important Note: All strings in this tuning are tuned downwards from standard E. For strings with movements of -4 semitones or more, particularly the 6th, 5th, 2nd, and 1st strings, consider using a heavier gauge string set to ensure adequate string tension, improve overall tone, and reduce the risk of string breakage or fret buzz when tuning back up or playing aggressively. Adjust your guitar's intonation and truss rod if you plan to keep this tuning for an extended period.