Tuning Overview: C6(#11)/F

This unique guitar tuning, named C6(#11)/F, is primarily noted for its application in Midwest emo lead playing. It establishes a complex harmonic landscape right from the open strings, perfect for creating the intricate, ringing, and often melancholic or hopeful voicings characteristic of the genre.

Verbal Analysis:

At its core, this tuning centers around a C major chord with significant extensions and an F bass. The open strings, F-A-C-G-C-F#, immediately present a rich, suspended quality. The lowest three strings (F-A-C) establish a solid F major triad, while the middle strings (C-G-C) reinforce a C power chord. The most striking feature is the high F# on the first string. This F# acts as an augmented fourth (or #11) in relation to C, adding a bright, piercing, and slightly dissonant sparkle that cuts through the mix. This combination of stable triads with a shimmering, extended top note creates a soundscape ripe for arpeggiated melodies and open, ringing chords that evoke both clarity and tension. It's a tuning that encourages melodic exploration and wide intervallic jumps, ideal for lead lines that stand out.

Technical Analysis:

The open string notes are F2, A2, C3, G3, C4, F#5. When analyzed with C as the root and F as the bass, this tuning clearly spells out a C6 chord (C, E, G, A) with an augmented eleventh (F#). The actual notes present from the lowest F, mapped to the C root, are:

• F (Bass, 6th String): The Perfect 4th from C, acting as the foundation.
• A (5th String): The Major 6th of C.
• C (4th String): The Root.
• G (3rd String): The Perfect 5th of C.
• C (2nd String): The Root, an octave higher.
• F# (1st String): The Augmented 4th / Sharp 11th of C.

This provides a complex voicing of C (Root) - G (P5) - A (M6) - F (P4) - F# (#11), with an F in the bass. The presence of both a P4 (F) and a #11 (F#) from the root C adds a sophisticated tension, hinting at Lydian or altered dominant qualities, even in an otherwise major context. The non-linear intervals between strings (e.g., a Perfect 4th from String 4 to 3, then an Augmented 4th from String 2 to 1) make for unique fingerings and chord shapes that deviate significantly from standard tuning, promoting creativity in chord voicing and melodic runs.

Open Chords and Reachable Shapes:

The open strings themselves form a complex, resonant C6(#11)/F chord, which can be strummed as a rich, full voicing. Beyond this, players can easily find:

• F Major Triad: By only strumming the lowest three strings (F-A-C).
• C Power Chord: Using strings 4, 3, and 2 (C-G-C).
• Extended Chords: Barring across various frets will yield unusual and inspiring chord shapes due to the unique intervals. For instance, barring all strings at the 5th fret would produce an A-C#-E-B-E-A# shape, which functions as an A6(#11) with a D# (relative to the open F as a bass).
• Melodic Opportunities: The distinct intervallic relationships, especially the #11 on the top string, make this tuning highly conducive to arpeggiated lead lines and open-string riffs that possess a bright, almost chiming quality.

How to Tune: C6(#11)/F

To achieve the C6(#11)/F tuning, you will adjust your guitar from standard EADGBe tuning. Please follow these instructions carefully. When tuning up, proceed with caution to avoid string breakage.

• 6th String (Low E to F2): Tune up 1 semitone. (Tune up 1 semitones)
• 5th String (A to A2): Keep as is; no change. (Keep as is; no change (0 semitones))
• 4th String (D to C3): Tune down 2 semitones. (Tune down 2 semitones)
• 3rd String (G to G3): Keep as is; no change. (Keep as is; no change (0 semitones))
• 2nd String (B to C4): Tune up 1 semitone. (Tune up 1 semitones)
• 1st String (High E to F#5): Tune up 2 semitones. (Tune up 2 semitones)

Movements within a range of -4 to +4 semitones are generally manageable with standard string gauges, but always exercise care when tuning strings up.