This intriguing tuning, aptly named Fmadd9, emanates a deep, melancholic, yet expansive sound. As the original description suggests, it was derived from experimentation, potentially building on suspended tunings like FACGCE, but evolving into something uniquely rich and atmospheric.

Verbal Analysis

The immediate impression of Fmadd9 is one of depth and spaciousness. The open strings resonate with a dark, contemplative quality, characteristic of minor keys, but the added 9th (G) introduces a beautiful tension and complexity, preventing it from being overtly sad. This tuning would be exceptional for fingerstyle playing, ambient soundscapes, or even heavier genres seeking a distinctive, moody palette. It encourages open voicings and allows chords to ring out with rich overtones, lending itself well to cinematic compositions, progressive rock, or introspective folk.

Technical Analysis

The open string notes are F2, G#3, C3, G3, C4, F4 (from low E to high E string). When analyzed, these notes clearly form an F minor (enharmonically Ab) chord with an added major 9th (G). Specifically, the pitches present are F (root), Ab (minor third, as G#), C (perfect fifth), and G (major ninth). The multiple octaves of F (F2, F4) and C (C3, C4) provide a strong harmonic foundation and a broad sonic spectrum.

Here's a breakdown of the open string intervals relative to the lowest F2:

• String 6 (F2): Root
• String 5 (G#3): Minor 10th (octave + minor 3rd)
• String 4 (C3): Perfect 5th
• String 3 (G3): Major 9th
• String 2 (C4): Perfect 12th (octave + perfect 5th)
• String 1 (F4): Octave (octave + root)

This arrangement makes the open position a powerful Fmadd9 chord (F-Ab-C-G). The proximity of G# (Ab) on string 5 and G on string 3 (G3) creates interesting harmonic possibilities, allowing for both minor tonality and the unique character of the 9th. Chords based on the lower strings (F2, C3, G3) will have a strong, open sound, while the upper strings (G3, C4, F4) present a clear G-C-F cluster, which can be interpreted as a C suspended 4th, or an F major triad with an added 9th if F is considered the root. This tuning invites exploration of unique voicings and easily accessible minor 9th-esque chord shapes.

Here are the notes for the Fmadd9 tuning:

String 6 (Low E): F2
String 5 (A): G#3
String 4 (D): C3
String 3 (G): G3
String 2 (B): C4
String 1 (High E): F4

How to Tune from Standard EADGBe

To achieve the Fmadd9 tuning from standard EADGBe, follow these steps:

• String 6 (Low E): Starting from E2, tune up 1 semitone to F2. (Movement: +1 semitone)
• String 5 (A): Starting from A2, the instruction is to tune down 1 semitone, which would result in G#2. However, the target note for this tuning (as specified in the tuning_notes) is G#3. If tuning from standard A2 to G#3, you would need to tune up 11 semitones. Players should be aware of this distinction between the specified movement and the target note, and tune the A string to G#3 as per the final tuning specification.
• String 4 (D): Starting from D3, tune down 2 semitones to C3. (Movement: -2 semitones)
• String 3 (G): Starting from G3, keep as is; no change to G3. (Movement: 0 semitones)
• String 2 (B): Starting from B3, tune up 1 semitone to C4. (Movement: +1 semitone)
• String 1 (High E): Starting from E4, tune up 1 semitone to F4. (Movement: +1 semitone)

Important Note on String Gauges: When tuning strings significantly (generally more than 4 semitones up or down from standard), it's advisable to consider using a different gauge string to maintain optimal tension and prevent potential string breakage or neck damage. For this tuning, most movements are minor, but players should always exercise caution, especially with the potential octave change on string 5 if aiming for G#3 from A2.