This intriguing 'Open G 6add9' tuning for the Guitar, as described: "testing testing testing testing testing testing testing testing testing testing testing testing testing testing testing testing testing testing testing testing testing testing testing", offers a sophisticated and rich sonic palette. Unlike traditional Open G tunings where the lowest string is often G or D, this tuning presents a unique voicing with a low B string, giving a different harmonic foundation.

Technical Analysis

The open strings are tuned to B2-A2-D3-G3-B2-E4 (from low E to high E). When played open, these notes collectively form a G6/9 chord with a B in the bass (G6/9/B). This means the chord is essentially a G major (G-B-D) with an added 6th (E) and 9th (A), but with the 3rd (B) as the lowest note. This creates a full, somewhat jazzy, and resonant sound.

The arrangement of notes provides a unique spread of the chord tones, allowing for interesting harmonic interplay. The presence of the B on both the 6th and 2nd strings (albeit an octave apart), coupled with the G on the 3rd string and E on the 1st string, opens up possibilities for drone effects and intricate melodic lines.

Chordal and Melodic Opportunities

• The open strings naturally form a G6/9/B chord, providing an immediate rich harmonic foundation.
• By barring across any single fret, you can easily create parallel G6/9 voicings up the neck, albeit with different bass notes depending on which strings are fretted. This makes for very quick chord changes in the same harmonic family.
• The separation of the G root (string 3), B (strings 6 and 2), D (string 4), E (string 1), and A (string 5) allows for interesting arpeggiated patterns and fingerstyle possibilities that highlight the extended chord tones.
• The low B and high E strings offer excellent opportunities for open string drones, creating sustained textures beneath moving melodies or chords.

How to Tune

Please be aware that some of these string movements are significant and may require adjusting string gauges to maintain optimal playability and string tension. Tuning up more than 4 semitones or down more than 4 semitones generally suggests considering a different gauge string.

• String 6 (Low E): Tune up 7 semitones to B2. (Caution: Tuning up 7 semitones will significantly increase string tension. A lighter gauge string for the 6th string might be advisable to prevent breakage and ensure comfortable playability.)
• String 5 (A): Keep as is; no change (0 semitones) at A2.
• String 4 (D): Keep as is; no change (0 semitones) at D3.
• String 3 (G): Keep as is; no change (0 semitones) at G3.
• String 2 (B): Tune down 12 semitones to B2. (Caution: Tuning down 12 semitones means tuning a full octave lower. This will result in very low string tension and a very slack string, which will likely buzz or be unplayable with a standard gauge. A much heavier gauge string for the 2nd string is strongly recommended.)
• String 1 (High E): Keep as is; no change (0 semitones) at E4.

The final notes for each string in this tuning are:

• String 6: B2
• String 5: A2
• String 4: D3
• String 3: G3
• String 2: B2
• String 1: E4