Modes / Substitution / Navigation
NOTICE that only the C6 open tuning note sequence of 1, 3, 5, 6 will afford full and "unadulterated" 2-fret-mode boxes. Any deviation such as adding the 4th note will result in the simple mode boxes being skewed outside the simple 2-fret box structure. Even when the C6/11 tuning is viewed as the F9 tuning it also is, the modes become split at the deviation from the simple 6th tuning, even though some notes are shared between the 2 different "adulterated" mode structures that exist within a 2-fret mode box that is adulterated by notes outside the simple 6th tuning. This is not neccessarily a "bad" nor overly confusing thing, as is apparant with this version of C6/11 tuning which affords some interplay between I / IV and I / V scale and chord key root intervals in each mode box; A bit handy when a song is changing keys such as in common I, IV, V chord songs. The "F" on the bottom of the C6 tuning also affords additional chord voicings along the neck, but keep in mind that extension note voicings are much more effective when played above the register of played or apparant extension notes (11th note played above the 9th note register for instance ... 13th note played above 9th and 11th extension notes', etc.); So voicing the "F" note in the tuning might be better done between the "E" and "G" of the C6th tuning, although such placement will require new muscle-motor skill woodshedding so the muscle-motor can learn the new string span between the more-commonly played "E" and "G" strings when the "F" string is not played.