The "god tuning OPEN 9/11/13" is an exceptionally unique and highly experimental tuning that challenges traditional guitar voicings. It's a sonic landscape built for exploration rather than conventional strumming, likely appealing to avant-garde composers, jazz experimentalists, or those seeking deeply resonant and complex harmonic textures.

Verbal Analysis

This tuning presents a striking array of pitches across the fretboard. The lower strings feature an unusual and potent chromatic cluster: F#3 on the 6th string, A#3 on the 5th, and a surprisingly low F3 on the 4th string. This F3 sits a semitone below the 6th string's F#3, immediately creating a rich, almost dissonant, and very dense low end. Moving up, the 3rd string is B3, and then there's a dramatic jump in octaves to C#5 on the 2nd string and D#5 on the 1st string. These high strings ring out with a bright, bell-like clarity, offering a stark contrast to the deep, almost growling foundation. The overall feel is one of immense harmonic potential for arpeggios, intricate fingerstyle, or ambient soundscapes, far removed from standard open chord strumming.

Technical Analysis

The open string notes are F#3 - A#3 - F3 - B3 - C#5 - D#5 (from low E to high e string). When ordered by pitch, these notes reveal a sophisticated F-based extended chord: F3, F#3, A#3, B3, C#5, D#5.

• F3 (on 4th string): Root
• F#3 (on 6th string): Major 2nd (or minor 9th), creating a strong, modern dissonance with the F3.
• A#3 (on 5th string): Major 3rd
• B3 (on 3rd string): Augmented 4th (or #11), adding a distinctive 'Lydian' flavour.
• C#5 (on 2nd string): Major 6th (or 13th), appearing two octaves higher for brilliance.
• D#5 (on 1st string): Major 7th, also two octaves higher, completing the extended harmony.

This forms an Fmaj7(#11)(add9)(add13) chord voicing, but with the unique characteristic of having the root (F3) on the 4th string, and the F#3 (major 2nd) below it on the 6th string. This intricate intervallic structure makes the tuning highly suitable for modern jazz, fusion, or experimental music where rich, complex harmonies and open voicings are desired.

Open Chords and Reachable Shapes

Given the wide intervallic leaps and the F3/F#3 cluster, standard open major or minor chords are not directly available. The open strings themselves form a specific, complex Fmaj7(#11)add9 chord. Playing all open strings together yields this rich, dense voicing that leans into a highly dissonant yet compelling sound. This tuning encourages:

• Arpeggiated Voicings: The distinct octave jumps (e.g., B3 to C#5) lend themselves beautifully to wide, sweeping arpeggios that cover a broad frequency spectrum.
• Harmonic Clusters: The lower strings (F#3, A#3, F3, B3) offer opportunities for dense, two- or three-note clusters that leverage the chromatic and extended intervals.
• Melodic Leads: The high C#5 and D#5 strings are perfect for ringing melodic lines that cut through the intricate lower harmonies.
• Drone Tones: The F3 on the 4th string could serve as a powerful drone, against which other melodic and harmonic ideas can be developed.

Fingering new chords will require creativity, focusing on shapes that exploit the tuning's unique intervals rather than forcing conventional patterns. Sliding partial barre shapes or using open strings in conjunction with fretted notes will be key to unlocking its potential.

How to Tune

To achieve this "god tuning OPEN 9/11/13", carefully adjust each string according to the following instructions:

• 6th String: To reach F#3, tune this string up 2 semitones. Take care when tuning up.
• 5th String: To reach A#3, tune this string up 1 semitone.
• 4th String: To reach F3, tune this string up 3 semitones. Exercise caution as this is a moderate tension increase.
• 3rd String: To reach B3, tune this string up 4 semitones. This is a significant tension increase; consider a different gauge string if tuning frequently or leaving it tuned for extended periods.
• 2nd String: To reach C#5, tune this string up 2 semitones. Take care when tuning up.
• 1st String: To reach D#5, tune this string down 1 semitone.

Important Note: Tuning strings up by 3 or 4 semitones significantly increases string tension. For sustained use or if your guitar is not robust, consider using a different gauge of string for the 4th and 3rd strings to prevent damage to your instrument or strings.

Here are the notes for each string in this unique tuning:

• 6th String (Low E): F#3
• 5th String (A): A#3
• 4th String (D): F3
• 3rd String (G): B3
• 2nd String (B): C#5
• 1st String (High e): D#5