BMaj15: A Harmonically Rich and Experimental Tuning

The BMaj15 tuning, as its name suggests, is deeply rooted in the key of B Major, yet takes a highly unconventional approach to its voicings. The provided description highlights its design as "B Major 15, minus the perfect intervals," implying a deliberate avoidance or reinterpretation of standard 4ths and 5ths in its core harmonic structure, particularly when considering intervals from the lowest string. It is noted to work "nicely on a baritone guitar," which is consistent with the low B1 root note, offering a deep and resonant foundation.

Verbal Analysis

This tuning is a fascinating exploration into complex harmonic textures rather than simple open chords. It immediately presents a rich, somewhat dissonant soundscape with its open strings. The absence of traditional perfect intervals (relative to the root) suggests a focus on wider, more expressive intervals like major 3rds, 6ths, 7ths, and 9ths. This creates a sound that is both lush and challenging, pushing the boundaries of conventional harmony. It's likely geared towards players interested in ambient soundscapes, modern jazz, experimental music, or cinematic scoring, where distinct voicings and extended harmonies are paramount. The inclusion of both a Major 9th (C#) and a Minor 9th (C) alongside the B Major framework adds a significant layer of chromatic tension and sophistication.

Technical Analysis

The open notes for the BMaj15 tuning are: B1, D3#, A3#, C4#, G4#, C4. Let's examine the intervals between adjacent strings:

• String 6 (B1) to String 5 (D3#): A compound Major 3rd (15 semitones). This is an exceptionally wide interval, spanning more than an octave and a half.
• String 5 (D3#) to String 4 (A3#): A Perfect 5th (7 semitones). This is a standard and strong harmonic interval.
• String 4 (A3#) to String 3 (C4#): A Minor 3rd (3 semitones). Another common and musically useful interval.
• String 3 (C4#) to String 2 (G4#): A Perfect 5th (7 semitones). Again, a strong, resonant interval.
• String 2 (G4#) to String 1 (C4): An Augmented 4th or Tritone (6 semitones). This is a highly dissonant and impactful interval, central to blues and jazz harmony.

When played open, the combined notes (B, D#, A#, C#, G#, C) create a highly extended and chromatic chord. This chord contains the root (B), Major 3rd (D#), Major 6th (G#), Major 7th (A#), Major 9th (C#), and Minor 9th (C). The simultaneous presence of C# and C creates a potent minor second dissonance, which can be used for tension and release. This isn't a simple open major or minor chord but rather a rich cluster that provides a unique harmonic palette.

Chords and Harmonic Possibilities

While a simple open strum will yield a complex and dissonant sound, the arrangement of notes offers intriguing possibilities:

• B Major Voicings: The presence of B and D# firmly establishes a B Major tonal center. The G# (Major 6th/13th) and A# (Major 7th) naturally lead towards Bmaj6, Bmaj7, or Bmaj13 sonorities.
• Extended Harmonies: The C# (Major 9th) allows for Bmaj9 or Bmaj13 chords, adding modern jazz extensions. The C (Minor 9th) can create a B7(b9) tension, offering a bluesy or exotic flavor, especially when juxtaposed with the B Major framework.
• Specific Intervals: The two adjacent Perfect 5ths (D#-A# and C#-G#) can be exploited for powerful two-string voicings. The Tritone between G4# and C4 is a strong melodic and harmonic device.
• Non-Traditional Chord Shapes: Players will likely discover new chord shapes that exploit the unique string intervals, particularly the wide compound Major 3rd on the lowest strings, to create expansive and resonant voicings that are impractical in standard tuning. This tuning encourages a creative approach to fretboard navigation.

Overall, BMaj15 is a highly specialized tuning for those seeking to unlock new sonic territories and move beyond conventional guitar harmony, especially on a baritone instrument.

How to Tune: BMaj15

To achieve the BMaj15 tuning, follow these specific instructions for each string. Please note that string gauge considerations are advised for movements exceeding 4 semitones up or down.

• String 6 (Lowest String) - Target Note: B1
  Keep as is; no change (0 semitones).
• String 5 - Target Note: D3#
  Tune down 1 semitone.
• String 4 - Target Note: A3#
  Tune up 1 semitone.
• String 3 - Target Note: C4#
  Tune down 1 semitone.
• String 2 - Target Note: G4#
  Tune up 1 semitone.
• String 1 (Highest String) - Target Note: C4
  Tune up 1 semitone.

Important Note: While none of the individual string movements in this tuning exceed 1 semitone from their assumed starting point, if your guitar is currently in standard EADGBe tuning, some strings will require larger adjustments to reach their target notes. For example, your low E string (E2) would need to be tuned down significantly to B1 (7 semitones down). Always exercise caution when making large tuning adjustments. If a string needs to move more than 4 semitones up or down from its current gauge's intended tension, consider using a different string gauge to avoid breakage or damage to your instrument.