The Visiting Friends Tuning, as popularized by Avey Tare, crafts an extraordinarily resonant and expansive sonic environment, diverging significantly from standard guitar tunings. This highly altered tuning is notable for its vast intervallic spread and the rich, complex harmonic texture it produces when played open.

Technical Analysis:

The open strings are tuned to B1 F#3 B2 D#4 A#4 C#5, arranged from the lowest to the highest string. This specific configuration immediately forms a sophisticated chord rooted in B. Analysing the notes, B, D#, and F# constitute a B Major triad. The inclusion of A# introduces a Major 7th, while C# provides a Major 9th (or 2nd) above the root.

Consequently, a simple strum of the open strings produces a luminous and full B Major 9th chord. The extreme range of this tuning, spanning over three octaves from the deep B1 on the 6th string to the bright C#5 on the 1st string, results in an incredibly open, airy, and almost orchestral quality. Each note rings with exceptional clarity and sustain, contributing to a unique atmospheric sound. The F#3 on the 5th string is surprisingly high for a string typically tuned to A, while the B1 on the 6th string offers a profound, almost bass-like foundation.

The inherent structure of this tuning makes it particularly well-suited for atmospheric textures, intricate arpeggiated figures, and melodic passages that highlight its embedded major tonality. While adapting conventional barre chords might prove challenging due to the irregular intervallic relationships between adjacent strings, the tuning excels in enabling easy formation of partial chords and drone-based musical phrases. The presence of the root (B), octave (B), major third (D#), perfect fifth (F#), major seventh (A#), and major ninth (C#) makes it harmonically complete for a Bmaj9 voicing, offering a rich palette for creative expression.

How to Tune:

To transform your guitar from standard E A D G B E tuning into the Visiting Friends Tuning, follow these precise adjustments for each string. It is crucial to proceed with caution during tuning, especially for significant semitone changes. For substantial drops in pitch, consider using heavier gauge strings to maintain optimal tension and tone; similarly, lighter gauge strings may be beneficial for significant raises, although this tuning features only drops.

• 6th String (Low E): Tune down 5 semitones to B1. (Note: A different gauge string is strongly advised for this significant pitch drop to ensure proper tension and prevent floppiness.)
• 5th String (A): Tune down 3 semitones to F#3.
• 4th String (D): Tune down 3 semitones to B2.
• 3rd String (G): Tune down 4 semitones to D#4. (Note: A different gauge string is advised for this substantial pitch drop.)
• 2nd String (B): Tune down 1 semitone to A#4.
• 1st String (High E): Tune down 3 semitones to C#5.