Verbal Analysis: The "Jangly Emo Math Rock" Fmaj6/9 Open Tuning

This tuning, aptly described in the source as ideal for "jangly emo math rock," is a rich and harmonically sophisticated open tuning for the guitar. When strummed open, it immediately presents a lush F major 6/9 chord, offering a full, resonant sound that feels both bright and mellow. The strong F major triad (F-A-C) in the lower strings provides a solid foundation, while the upper strings (G-C-D) introduce interesting extensions and melodic possibilities. It lends itself beautifully to intricate fingerstyle passages, arpeggios, and creating sustained atmospheric textures. The repeated C notes (on the 4th and 2nd strings) add to the overall resonance and provide a grounding point within the chord. This tuning is perfect for exploring sounds that are expansive, harmonically rich, and allow for non-standard chord voicings and lead lines that naturally fit over a major 6/9 harmony.

Technical Analysis

The open strings are tuned to F2 A2 C3 G3 C4 D4 (from low E to high E string). This arrangement creates an Fmaj6/9 chord across all six strings:

• String 6 (F2): The root of the F major chord.
• String 5 (A2): The major third of F.
• String 4 (C3): The perfect fifth of F.
• String 3 (G3): The major second (or ninth) of F. Alternatively, this can be viewed as an eleventh.
• String 2 (C4): An octave of the perfect fifth.
• String 1 (D4): The major sixth (or thirteenth) of F.

The intervals between adjacent strings are:

• F2 - A2: Major 3rd
• A2 - C3: Minor 3rd
• C3 - G3: Perfect 5th
• G3 - C4: Perfect 4th
• C4 - D4: Major 2nd

This combination of intervals creates a rich harmonic canvas. The large P5 interval between C3 and G3 gives a wide, open sound in the middle register, while the P4 and M2 on the top strings offer unique melodic pairing opportunities. The repeated C notes offer a pleasing drone effect when sustained.

Open and Reachable Chords

• Open Chord: The most prominent open chord is a full Fmaj6/9.
• Barre Chords: By simply barring all strings at any fret, you can achieve various Xmaj6/9 chords. For example, a barre at the 1st fret yields a Gbmaj6/9, and at the 5th fret, an Amaj6/9.
• Partial Voicings: The strong F-A-C triad on the bottom three strings serves as an excellent bass foundation, allowing the upper strings to be fretted or left open for a variety of chord extensions and melodic lines.
• Extended Chords: By carefully adding single notes or small shapes on the higher strings, you can easily access voicings like Fmaj13 (by fretting the D on the 1st string up to E), or different inversions and extensions of F major. The G on the 3rd string provides a natural 9th, and moving it up or down offers further harmonic color.
• Suspended Sounds: The upper string intervals (G-C-D) are conducive to creating suspended or open-sounding voicings that can resolve or linger over the F major base.

Tuning Notes

Here are the notes for each string, from the lowest (6th) to the highest (1st):

• String 6: F2
• String 5: A2
• String 4: C3
• String 3: G3
• String 2: C4
• String 1: D4

How to Tune (from Standard E-A-D-G-B-E)

To achieve the Fmaj6/9 Open Tuning from standard guitar tuning, follow these adjustments for each string:

• String 6 (Low E): Tune up 1 semitone to F2. (Take care when tuning up more than 4 semitones; a different string gauge may be advised, but 1 semitone is generally safe.)
• String 5 (A): Keep as is; no change (0 semitones) to A2.
• String 4 (D): Tune down 2 semitones to C3.
• String 3 (G): Keep as is; no change (0 semitones) to G3.
• String 2 (B): Tune up 1 semitone to C4. (Take care when tuning up more than 4 semitones; a different string gauge may be advised, but 1 semitone is generally safe.)
• String 1 (High E): Tune down 2 semitones to D4.