Tuning Analysis: Open B Raised E

This unique tuning, known as Open B Raised E, has been notably utilized by bands like American Football and Pavement (who typically lowered it a half-step), offering a distinctive sonic landscape for creative expression.

Verbal Analysis

The Open B Raised E tuning creates a rich, expansive sound that leans heavily into a B Major tonality, particularly when the lower E string is muted or used as a resonant drone. When strummed open, strings 5 through 1 form a clear B Major chord (B-D#-F#-B-D#), providing a bright and consonant foundation. The low E2 string introduces a complex harmonic texture, acting as a pedal tone that can imbue the open strum with an Emaj9(no 3rd) or B11/E quality, adding a melancholic or atmospheric depth. This makes it particularly suitable for ambient soundscapes, intricate fingerstyle passages, or indie rock where unique chord voicings are desired.

The presence of repeating notes (B and D#) across different octaves further reinforces the B Major harmony, while the wide intervallic jumps and drops between certain strings allow for unconventional melodic phrasing and wide voicings that are not typically available in standard tuning. Barre chords become intuitive on strings 5-1, allowing for easy transposition of the B Major shape, while the lowest E string can be incorporated or omitted for varying harmonic effects.

Technical Analysis

The notes for this tuning, from lowest (String 6) to highest (String 1), are:

• String 6: E2
• String 5: B2
• String 4: D#4
• String 3: F#4
• String 2: B3
• String 1: D#5

Analyzing the intervals between adjacent strings reveals the unique construction of this tuning:

• String 6 (E2) to String 5 (B2): Perfect 5th (+7 semitones)
• String 5 (B2) to String 4 (D#4): Compound Major 3rd / Major 10th (+16 semitones) - This is a significant upward leap of more than an octave, creating a bright, open quality.
• String 4 (D#4) to String 3 (F#4): Minor 3rd (+3 semitones)
• String 3 (F#4) to String 2 (B3): Descending Perfect 5th (-7 semitones) - A notable drop in pitch that adds an interesting twist to chord voicings and melodic lines.
• String 2 (B3) to String 1 (D#5): Compound Major 3rd / Major 10th (+16 semitones) - Another substantial upward interval, mirroring the jump between strings 5 and 4.

The intervallic structure showcases a blend of familiar perfect and minor thirds, punctuated by two very wide upward jumps and one significant downward step. This provides a non-linear string relationship that encourages experimentation beyond standard chord shapes, offering fresh harmonic and melodic possibilities.

How to Tune

To achieve the Open B Raised E tuning from standard EADGBe, follow these precise string adjustments:

• String 6 (Low E): Tune to E2. Keep as is; no change (0 semitones).
• String 5 (A): Tune to B2. Tune up 2 semitones.
• String 4 (D): Tune to D#4. Tune up 1 semitone.
• String 3 (G): Tune to F#4. Tune down 1 semitone.
• String 2 (B): Tune to B3. Keep as is; no change (0 semitones).
• String 1 (High E): Tune to D#5. Tune down 1 semitone.

All string movements are within safe limits (not exceeding 4 semitones up or down), so a different gauge string is not explicitly advised based on these movements alone.

String 6: E2

String 5: B2

String 4: D#4

String 3: F#4

String 2: B3

String 1: D#5