Verbal Analysis:

This intriguing custom tuning, aptly named "F 6#/9 no 3", is designed with a specific harmonic palette in mind: the exploration of secundal chords and dense tone clusters. As the original creator notes, it's particularly suited for experimental approaches, offering a soundscape that leans into modern and often dissonant harmonies rather than conventional major or minor structures. The tuning provides a strong, foundational F presence across multiple octaves, creating a rich drone capability. The deliberate omission of a major or minor third (A or Ab) lends an open, ambiguous quality, making it versatile for modal playing or styles that avoid strict tonal centers.

Players will find that open strumming yields a captivating, slightly edgy sound, with immediate access to close intervals and the titular #6 (D#) and 9th (G) against the F root. This fosters a creative environment for building unique voicings and atmospheric textures, moving beyond standard chord shapes to embrace more advanced harmonic concepts.

Technical Analysis:

The tuning lays out the following open string notes from low to high: F2 - G2 - D#4 - F3 - C4 - F4.

Let's examine the intervals relative to the low F (F2):

• String 6 (F2): The root, establishing the tonal center.
• String 5 (G2): A Major 2nd (or 9th) above the root F.
• String 4 (D#4): An Augmented 4th (or #11) above the F, or an Augmented 6th, providing a distinct, non-diatonic flavor and tension.
• String 3 (F3): An octave above the low F, reinforcing the root.
• String 2 (C4): A Perfect 5th above the low F, providing harmonic stability.
• String 1 (F4): Two octaves above the low F, further solidifying the F root.

The core notes of F, G, C, and D# (or enharmonically Eb) create a unique harmonic landscape. This tuning readily provides:

• F5 Power Chords: By strumming strings 6, 3, 2, and 1 (F-F-C-F), you immediately get a strong F power chord.
• Fadd9 / Fsus2 voicings: Including the G2 (string 5) with the F notes creates a rich Fadd9 or Fsus2 quality, providing an open, suspended feel.
• Tone Clusters & Secundal Harmonies: The F2-G2 (strings 6 & 5) and the intervallic relationship between C4 and D#4 (strings 2 & 4, albeit an octave apart for D#) offer prime opportunities for building secundal voicings and tone clusters, as the tuning's description suggests. For example, strumming strings 6 and 5 yields a strong major second.
• Open, Ambiguous Chords: The absence of a major or minor third means that the open tuning itself is tonally ambiguous, offering a blank canvas for melodic and harmonic invention. Chords like F-G-C-D#-F can be explored, creating dense, almost orchestral voicings with open strings, perfect for modern film scoring or avant-garde music.

How to Tune:

To achieve the "F 6#/9 no 3" tuning from standard EADGBe, follow these precise string movements:

• 6th String (Low E): Tune up 1 semitone to F2.
• 5th String (A): Tune down 2 semitones to G2.
• 4th String (D): Tune up 1 semitone to D#4.
• 3rd String (G): Tune down 2 semitones to F3.
• 2nd String (B): Tune up 1 semitone to C4.
• 1st String (High E): Tune up 1 semitone to F4.

Important Note on String Tension: All the specified movements are within a safe range of 1 to 2 semitones up or down. This means you generally won't need to change your string gauge. However, always tune carefully and gradually to avoid string breakage and ensure proper intonation.