The B11th Lap Steel Tuning

The B11th tuning is a classic lap steel configuration, renowned for its rich, full-bodied sound. As mentioned in its description, it is commonly used for Hawaiian music, where its lush harmonies and smooth slide capabilities shine. This tuning is designed to facilitate expressive, melodic playing with complex harmonic structures that are easily accessible.

Technical Analysis

• Open String Notes: The open strings are tuned to B1, D#3, F#3, A2, C#4, and E3 (from the 6th low string to the 1st high string).
• Chord Structure: These notes collectively form a B11 chord (B, D#, F#, A, C#, E). The lowest string provides the B root, establishing a strong fundamental.
• Intervals: Analyzing from the root (B), the open strings provide the Root (B1), Minor 7th (A2), Major 3rd (D#3), Perfect 11th (E3), Perfect 5th (F#3), and Major 9th (C#4).
• Re-entrant Voicing: This tuning features a re-entrant voicing, meaning the strings do not strictly ascend in pitch from lowest to highest string number (e.g., the A2 on the 3rd string is lower than the D#3 on the 5th string). This characteristic is common in lap steel tunings, allowing for unique harmonic relationships and melodic approaches that might not be possible with a linearly ascending pitch arrangement.

Playing in B11th

One of the primary advantages of this tuning is the ease with which full B11 chords can be played. By simply barring across any fret with a slide, you instantly produce a complete 11th chord in that position, allowing for effortless chord changes up and down the neck. This facilitates smooth, glissando-rich chord progressions characteristic of Hawaiian and other slide guitar styles.

Beyond the full 11th chord, you can easily derive other common chord types. By selectively muting specific strings or slightly adjusting your bar, you can access B9, B7, and B major triad chords directly from the open position or any barred fret. The inherent harmonic richness of the open strings makes it a very forgiving and expressive tuning for improvisation and crafting melodies over a strong harmonic foundation.

How to Tune to B11th Lap Steel

To achieve the B11th Lap Steel tuning, you will need to adjust your guitar strings significantly. Please refer to an accurate chromatic tuner and exercise caution, especially with large tuning changes. The standard guitar tuning is typically E-A-D-G-B-E (from 6th to 1st string).

• 6th String (Low E) to B1

  The 6th string, typically tuned to E2, needs to be tuned to B1. The instruction is to Tune down 5 semitones. If starting from E2, tuning down 5 semitones correctly leads to B1.

  Caution: Tuning down 5 semitones is a significant adjustment. For optimal performance and string tension, it is often advisable to consider using a heavier gauge string for this position.

• 5th String (A) to D#3

  The 5th string, typically tuned to A2, needs to be tuned to D#3. The instruction is to Tune down 6 semitones. However, if starting from a standard A2, tuning down 6 semitones would result in D#2, not the target D#3. To reach D#3 from A2, you would typically tune *up* 6 semitones. This suggests the tuning instruction might assume a different starting pitch for this string than standard A2 to achieve D#3 by tuning down.

  Caution: Whether tuning up 6 semitones from A2 or following the instruction to tune down 6 semitones (which implies a much higher starting pitch of G#3), this is a very large adjustment. Extreme caution is advised. A different gauge string may be necessary to accommodate such a large pitch change while maintaining playability and string integrity.

• 4th String (D) to F#3

  The 4th string, typically tuned to D3, needs to be tuned to F#3. The instruction is to Tune down 8 semitones. However, if starting from a standard D3, tuning down 8 semitones would result in G#2, not the target F#3. To reach F#3 from D3, you would typically tune *up* 4 semitones. This suggests the tuning instruction might assume a different starting pitch for this string than standard D3 to achieve F#3 by tuning down.

  Caution: Tuning up 4 semitones from D3 or following the instruction to tune down 8 semitones (which implies a starting pitch of D#4), both represent substantial changes. Exercise extreme caution. Consider a different gauge string for these significant pitch shifts.

• 3rd String (G) to A2

  The 3rd string, typically tuned to G3, needs to be tuned to A2. The instruction is to Tune down 10 semitones. If starting from G3, tuning down 10 semitones correctly leads to A2.

  Caution: Tuning down 10 semitones is an extremely large adjustment, approaching a full octave. The string tension will be significantly reduced, potentially leading to a very floppy feel. A much heavier gauge string is strongly recommended to maintain adequate tension and playability.

• 2nd String (B) to C#4

  The 2nd string, typically tuned to B3, needs to be tuned to C#4. The instruction is to Tune down 10 semitones. However, if starting from a standard B3, tuning down 10 semitones would result in C#3, not the target C#4. To reach C#4 from B3, you would typically tune *up* 1 semitone. This suggests the tuning instruction might assume a different starting pitch for this string than standard B3 to achieve C#4 by tuning down.

  Caution: Tuning up 1 semitone from B3 is a minor adjustment, but following the instruction to tune down 10 semitones (which implies a starting pitch of A4) is an extremely large and potentially damaging change for a standard string. If attempting the large downward adjustment, a much heavier gauge string is essential.

• 1st String (High E) to E3

  The 1st string, typically tuned to E4, needs to be tuned to E3. The instruction is to Tune down 12 semitones. If starting from E4, tuning down 12 semitones correctly leads to E3 (a full octave down).

  Caution: Tuning down 12 semitones is a full octave reduction in pitch. This will drastically reduce string tension. A significantly heavier gauge string is essential for this string to prevent it from being extremely loose and unplayable.