Verbal Description

The 'B Maj 6' tuning, as described by its creator, is a specialized setup for songwriting and instrumentals. This suggests a tuning designed for creative exploration rather than covering standard songs. With its exceptionally deep low B1 on the 6th string and the lowest string dropped by a significant 5 semitones, this tuning plunges the guitar into a realm of rich, resonant, and expansive sound. The overall feel is likely to be grand and perhaps slightly melancholic or atmospheric, making it an excellent choice for ambient textures, drone-based compositions, or for giving traditional chord progressions a fresh, deeper voice. The consistent presence of B and F# across different octaves, complemented by the distinct G#, creates a harmonic landscape that is both grounded and melodically intriguing, inviting players to discover new voicings and chord movements.

Technical Analysis

This tuning sets the open strings to B1-F#3-B2-F#4-G#4-B3 (from low to high). Analyzing these notes reveals a clear harmonic structure:

• Open Chord Identity: The open strings collectively form a beautiful B Major 6th chord (Bmaj6). The notes present are B (root), F# (perfect fifth), and G# (major sixth). While the major third (D#) is omitted, the strong presence of the root, fifth, and major sixth clearly defines the Bmaj6 quality.
• Interval Structure: The tuning is highly resonant due to the repeated B and F# notes across multiple octaves. The low B (string 6) and B (string 4) are an octave apart, as are F# (string 5) and F# (string 3). The G# on the 2nd string provides the characteristic major sixth interval above B.
• Accessible Chords and Shapes:
• Open Bmaj6: The most obvious and immediate chord is the B Major 6th, strummed simply by playing all open strings. This creates a full, rich, and inspiring sonority.
• B Major Triad: By strategically muting or avoiding the 2nd (G#) string, one can easily achieve a strong B Major triad (B-F#-B-F#-B), allowing for more traditional major chord sounds within the deep tuning.
• Barre Chords: A single finger barre across any fret will naturally yield another Major 6th chord, shifted chromatically. For instance, barring all strings at the 2nd fret would produce a C# Major 6th chord, and at the 7th fret, an F# Major 6th chord. This makes exploring major 6th harmonies across the fretboard highly intuitive.
• Root-Octave Power Chords: The identical B notes on the 6th and 4th strings (B1 and B2) make it very straightforward to play powerful, low root-octave chords by simply fretting these two strings at the same position.

The extreme nature of this tuning, with multiple strings being tuned down by 3 or 5 semitones from standard EADGBe, means that a heavier string gauge is highly recommended. This will help to maintain appropriate string tension, improve intonation, and prevent the strings from feeling 'floppy', ensuring the deep notes ring out clearly and with sustain.

How to Tune 'B Maj 6'

To achieve the 'B Maj 6' tuning from standard EADGBe, please follow these precise string movements. Always use a reliable tuner for accuracy and remember to tune strings slowly to avoid breakage.

• String 6 (Low E): Tune down 5 semitones to B1. This is a significant downward adjustment. A heavier gauge string is strongly advised for proper tension and intonation at this low pitch.
• String 5 (A): Tune down 3 semitones to F#3. This is a notable drop. Consider a slightly heavier gauge string to maintain optimal playability and tone.
• String 4 (D): Tune down 3 semitones to B2. This is a notable drop. Consider a slightly heavier gauge string to maintain optimal playability and tone.
• String 3 (G): Tune down 1 semitone to F#4.
• String 2 (B): Tune down 3 semitones to G#4. This is a notable drop. Consider a slightly heavier gauge string to maintain optimal playability and tone.
• String 1 (High E): Tune down 5 semitones to B3. This is a significant downward adjustment. A heavier gauge string is strongly advised for proper tension and intonation at this low pitch.

Important String Gauge Note: For string movements that exceed 4 semitones (either up or down), such as the 6th and 1st strings in this tuning, changing to a different string gauge is highly recommended. This prevents the strings from becoming too slack (for down-tuning) or too tight (for up-tuning), which can negatively impact tone, intonation, and playability. Even drops of 3 semitones may benefit from a slightly heavier gauge.