Verbal Analysis

This unique tuning, known as Open Bmadd9, presents a heavy and resonant soundscape, making it particularly well-suited for genres like progressive metal, doom, and djent. Its design is explicitly noted as being similar to Loathe's Drop A/E tuning, suggesting a focus on low, powerful riffs and intricate harmonic possibilities. The combination of low C# and F# strings provides a deep foundation, while the B and D# on the higher strings offer melodic clarity and a surprisingly bright open chord.

The overall feel is dark and atmospheric, yet with a distinct harmonic richness. The wide intervals and dropped strings encourage exploration of unconventional chord voicings and single-note lines across a broad range. Players can expect to find fat, chugging riffs easily accessible, alongside opportunities for open string drones and complex arpeggios.

Technical Analysis

The tuning's structure (C#3 F#3 C#4 F#4 B3 D#5) reveals a fascinating harmonic landscape. When played open, these strings form a B Major 9 (Bmaj9) chord (B, D#, F#, C#). While the tuning is named "Open Bmadd9", the presence of a D# (major third) rather than a D (minor third) results in a Major 9 chord when all strings are strummed open. This provides a rich, expansive sound with strong overtones.

• The 6th and 4th strings are tuned to C# (C#3 and C#4 respectively), providing an octave of the 9th, which can be used for deep, resonant power chords or as a drone.
• The 5th and 3rd strings are tuned to F# (F#3 and F#4 respectively), creating another octave pair, representing the perfect fifth of the Bmaj9 chord. This consistent interval across pairs of strings offers interesting fingerings and facilitates wide, open-sounding voicings.
• The 2nd string (B3) provides the root, and the 1st string (D#5) provides the major third, completing the fundamental B Major triad with a bright, high voicing.
• The intervals between adjacent strings are quite varied: a perfect fourth (C#-F#), a perfect fifth (F#-C#), a perfect fourth (C#-F#), an augmented second (F#-B), and a major third (B-D#). This creates a non-standard feel that encourages new musical ideas.

Common chord shapes will need to be re-learned, but the open Bmaj9 chord offers a great starting point. Barre chords across the C# strings (6th and 4th) or F# strings (5th and 3rd) will create strong, resonant harmonies. The open B and D# strings can be used as drones or for lead melodies, contrasting with the lower, heavier foundation.

Tuning Notes

Here are the target notes for each string:

• String 6 (Low E): C#3
• String 5 (A): F#3
• String 4 (D): C#4
• String 3 (G): F#4
• String 2 (B): B3
• String 1 (High E): D#5

How to Tune

To achieve the Open Bmadd9 tuning, follow these instructions for each string, starting from standard EADGBe tuning:

• String 6 (E3 to C#3): Tune down 3 semitones. The low E string moves from E3 to C#3. This is a significant drop, so ensure your string gauge can handle the tension correctly.
• String 5 (A3 to F#3): Tune down 3 semitones. The A string moves from A3 to F#3, also representing a substantial tension reduction.
• String 4 (D4 to C#4): Tune down 1 semitone. The D string moves from D4 to C#4.
• String 3 (G4 to F#4): Tune down 1 semitone. The G string moves from G4 to F#4.
• String 2 (B3 to B3): Keep as is; no change (0 semitones). The B string remains B3.
• String 1 (E5 to D#5): Tune down 1 semitone. The high E string moves from E5 to D#5.

Important Considerations: Tuning down multiple semitones, especially 3 semitones or more on the lower strings (as seen on the 6th and 5th strings), may require a heavier string gauge to maintain proper tension and intonation. For movements exceeding 4 semitones down, or any tuning up of 3 semitones or more, a different string gauge is generally advised to prevent breakage or excessive slack.