The "F Sus4add6♭7 Open Tuning" is a rich and harmonically complex alternative tuning that offers a distinctive, melancholic, and sometimes jazzy sonic palette. According to the creator, this tuning emerged from a desire to simplify a pleasant-sounding chord originally discovered in D Standard tuning, and the resulting open string configuration proved to be highly resonant and pleasing to the ear.

Verbal Analysis: This tuning immediately presents a full, somewhat dark and bluesy sound when strummed open. The presence of multiple Fs and D#s (Eb) across the strings creates a rich, sustained drone quality. It avoids the typical bright major or stark minor open chords, instead offering a sophisticated dominant suspended sound. The inherent dissonance of the b7 (Eb) alongside the sus4 (Bb) and 6th (D) gives it a contemporary feel, suitable for atmospheric soundscapes, intricate fingerstyle arrangements, modern blues, or even experimental jazz and rock. The low F2 provides a solid, deep foundation, allowing for powerful open string riffs.

Technical Analysis: From the lowest to highest string, the tuning is D#3, F2, D#4, F3, A#4, D4. The unique pitches present across the open strings are F, Bb, D, and Eb (D#). When these notes are stacked, they form an F7sus4(add6) chord, or more precisely, Fsus4add6♭7 (F, Bb, D, Eb). This chord is missing its traditional 5th (C), which further contributes to its open and slightly ambiguous character, allowing it to fit into various harmonic contexts. The arrangement of notes facilitates several interesting voicings:

• The two lowest strings (D#3 and F2) create a compelling minor third interval (or inverted major sixth), giving a deep, resonant quality.
• Octave relationships are present: F2 (string 5) and F3 (string 3); D#3 (string 6) and D#4 (string 4). This makes it easy to create powerful, ringing octave voicings across non-adjacent strings.
• The upper three strings (F3, A#4, D4) beautifully outline an Fsus4(add6) triad, providing a clear and melodious top end to the tuning.

Due to these inherent structures, chords such as Fsus4, F6, and various F7sus4 voicings are readily accessible with minimal fretwork. Furthermore, the presence of D# (Eb) and A# (Bb) lends itself to exploring bluesy licks and modes based around F, Bb, and Eb. The open strings themselves form a captivating cluster that can be strummed or arpeggiated for immediate, rich harmonic impact.

Open String Notes:

• String 6 (Low E equivalent): D#3 - Tuned significantly lower than standard E2.
• String 5 (A equivalent): F2 - A very low pitch, forming the root of the open chord, and a full major sixth below standard A2.
• String 4 (D equivalent): D#4 - Tuned slightly higher than standard D3, one octave above the low D#.
• String 3 (G equivalent): F3 - Tuned lower than standard G3, an octave above the low F.
• String 2 (B equivalent): A#4 - Tuned higher than standard B3, providing a bright, suspended quality.
• String 1 (High E equivalent): D4 - Tuned lower than standard E4, but still a clear high note.

How to Tune:

This tuning requires significant adjustments from standard EADGBe. Exercise caution, especially when tuning strings up. For movements exceeding 4 semitones up or down, considering a different string gauge is advisable for optimal tension and string life.

• String 6 (Low E): Tune down 1 semitone from E to D#. Target note: D#3.
• String 5 (A): Tune down 4 semitones from A to F. Target note: F2. Note: Tuning down 4 semitones can cause significant slack; consider a heavier gauge string for better tension.
• String 4 (D): Tune up 1 semitone from D to D#. Target note: D#4.
• String 3 (G): Tune down 2 semitones from G to F. Target note: F3.
• String 2 (B): Tune down 1 semitone from B to A#. Target note: A#4.
• String 1 (High E): Tune down 2 semitones from E to D. Target note: D4.