Overview:

The "Fmin9" tuning is described as a "fun little tuning used for skramz," and it certainly delivers a unique, heavy, and melancholic sonic palette. Its open string voicing immediately presents an F minor 9 chord, creating a rich, full, and complex sound ideal for expressive and atmospheric playing. The low C and F provide a powerful, deep foundation, while the upper notes (G, G#, D#) add the characteristic minor 7th (D#=Eb) and 9th (G) with the minor 3rd (G#=Ab) of the F minor 9 chord, making it harmonically complete and expressive right out of the gate.

Technical Analysis:

This tuning transforms the standard EADGBe configuration into an open C2 F2 C3 G3 G4# D5#. Let's break down the intervals between adjacent strings:

• 6th String (C2) to 5th String (F2): Perfect 4th (P4)
• 5th String (F2) to 4th String (C3): Perfect 5th (P5)
• 4th String (C3) to 3rd String (G3): Perfect 5th (P5)
• 3rd String (G3) to 2nd String (G4#): Minor 2nd (m2) – a semitone up
• 2nd String (G4#) to 1st String (D5#): Perfect 5th (P5)

The open strings, C-F-C-G-G#-D#, collectively form an F minor 9 chord (F-Ab-C-Eb-G, with G# enharmonically acting as Ab and D# as Eb). This means that strumming all open strings will produce a full, resonant Fmin9 sound. The repetitive perfect 5ths on the lower strings (F-C, C-G) facilitate powerful power chords and bass lines. The unique minor 2nd interval between the 3rd (G3) and 2nd (G4#) strings is particularly interesting; while potentially dissonant if not handled carefully, it opens up opportunities for bluesy bends, exotic voicings, and quick, intense melodic phrases often found in genres like skramz. The final Perfect 5th (G#-D#) offers strong harmonic support for the higher melody lines.

Players will find that standard chord shapes will need significant adjustment due to the altered intervals. However, barre chords rooted on the 5th and 6th strings will easily create various F-based minor chords and their extensions. The open C and F notes also suggest easy access to C major/minor and F major/minor related chords by simply fretting the upper strings, allowing for droning bass notes.

How to Tune:

To achieve the "Fmin9" tuning from standard EADGBe, follow these steps:

• 6th String (Low E): Tune down 4 semitones to C2.
• 5th String (A): Tune down 4 semitones to F2.
• 4th String (D): Tune down 2 semitones to C3.
• 3rd String (G): Keep as is; no change (0 semitones) to G3.
• 2nd String (B): Tune down 3 semitones to G4#.
• 1st String (High E): Tune down 1 semitone to D5#.

Important Note on String Gauge: For optimal playability and string longevity, please be aware of significant tension changes.

• When a string's tuning movement exceeds negative 4 semitones (i.e., is -5 semitones or lower) or is positive 4 semitones or higher (i.e., +4 semitones or higher), a different string gauge is generally advised to maintain proper tension and avoid string breakage or excessive floppiness.
• Based on the provided movements (-4, -4, -2, 0, -3, -1 semitones), none of the strings in this specific tuning meet the criteria of "exceeding negative 4" or being "positive 4 or above". Therefore, a change in string gauge is generally not strictly necessary according to these parameters. However, dropping two strings by 4 semitones can still result in noticeable tension changes, and some players may still prefer to use heavier gauge strings for a tighter feel and to prevent fret buzz.

6th String: C2 (Lowest note, provides a deep bass foundation)

5th String: F2 (The root of the open F minor 9 chord)

4th String: C3 (The 5th of the open F minor 9 chord, reinforcing the bass)

3rd String: G3 (The 9th of the open F minor 9 chord)

2nd String: G4# (Enharmonically Ab4, the minor 3rd of the open F minor 9 chord)

1st String: D5# (Enharmonically Eb5, the minor 7th of the open F minor 9 chord)