C#G#BF#G#D# Guitar Tuner

C#G#BF#G#D# | D♭A♭BG♭A♭E♭ B6/9/C# - Guitar tuning, chords & scales

Description - B6/9/C#

This is a math-rock style tuning based on a B6/9 chord

Tuning Analysis: B6/9/C#

This intriguing open tuning, named "B6/9/C#", is inspired by the complex and expressive sounds often found in math-rock, specifically built around a Bmaj6/9 chord. It offers a unique sonic landscape, blending harmonic richness with the potential for intricate melodic lines and arpeggiation.

Verbal Analysis

The "B6/9/C#" tuning immediately evokes a sense of sophisticated harmony. The open strings resonate with a bright, yet somewhat contemplative quality, perfect for intricate fingerstyle, tapping, or creating expansive soundscapes typical of math-rock. The presence of major 3rd, 6th, and 9th intervals in the open voicing creates a full, jazzy, and open sound that can feel both ethereal and grounded. Players will find that chords built around these open strings will have a naturally rich and shimmering character, encouraging exploration of open voicings and complex inversions.

Technical Analysis

The open notes for this tuning are: C#3 G#3 B2 F#4 G#4 D#5. When arranged for harmonic analysis, these notes form a clear Bmaj6/9 chord:

B2 (on 4th string) - The root
C#3 (on 6th string) - The major 9th
D#5 (on 1st string) - The major 3rd
F#4 (on 3rd string) - The perfect 5th
G#3, G#4 (on 5th and 2nd strings) - The major 6th/13th (octave duplication)

The lowest note, B2, firmly establishes B as the foundational root, despite the tuning's given name suggesting C# might be a bass emphasis. The C#3 on the low 6th string effectively functions as a prominent 9th, adding to the richness of the open chord. The unique spread of notes, from B2 to D#5, provides a wide harmonic palette. This tuning facilitates easy access to various voicings of Bmaj6/9 and related chords. The open strings themselves form this complex chord, meaning a simple strum yields a sophisticated harmony. Moving up the neck, barre chords or partial chords will take on new sonic characteristics, with the open strings providing resonant drones or extended harmonic possibilities. Common chord shapes may need re-learning, but the reward is a distinctive, open, and resonant sound. The tight intervals between the 3rd, 2nd, and 1st strings (F#4, G#4, D#5) also lend themselves well to melodic playing and arpeggios that can create shimmering, bell-like effects.

How to Tune

To achieve the B6/9/C# tuning from standard EADGBe, follow these precise adjustments for each string:

6th String (Low E): Tune down 3 semitones from E to C#3. (Movement: -3 semitones)
5th String (A): Tune down 1 semitone from A to G#3. (Movement: -1 semitone)
4th String (D): Tune down 3 semitones from D to B2. (Movement: -3 semitones)
3rd String (G): Tune down 1 semitone from G to F#4. (Movement: -1 semitone)
2nd String (B): Tune down 3 semitones from B to G#4. (Movement: -3 semitones)
1st String (High E): Tune down 1 semitone from E to D#5. (Movement: -1 semitone)

These adjustments are relatively minor, with no string requiring a drop or rise of more than 3 semitones. As such, your current string gauge should be perfectly suitable without risk of excessive tension or slack. Always tune carefully and check intonation after significant changes.

String 6 (Low E): Tuned to C#3
String 5 (A): Tuned to G#3
String 4 (D): Tuned to B2
String 3 (G): Tuned to F#4
String 2 (B): Tuned to G#4
String 1 (High E): Tuned to D#5