This tuning, famously associated with Robert Fripp and aptly named "New Standard 7 NST7," radically redefines the 7-string guitar experience. As Fripp himself described it, it’s "hilariously impractical" for conventional playing, yet it unlocks a universe of symmetrical possibilities for those willing to explore its unique landscape.

Verbal Analysis

Imagine a guitar where every string (save for the top two) is a perfect fifth apart. This creates an incredibly open, resonant, and almost organ-like sound when strummed openly or played arpeggiated. It’s a tuning that rewards precision and thoughtful note choices, often lending itself to intricate fingerstyle, classical, progressive rock, ambient soundscapes, or experimental music. Traditional strumming patterns for rock or pop are likely to sound dissonant or unwieldy due to the lack of common major/minor triad shapes directly under the fingers. Instead, you'll find yourself exploring linear melodic ideas and symmetrical chord voicings that span several strings, encouraging a fresh approach to the fretboard.

Technical Analysis

The core of this tuning is a stack of perfect fifths: F1-C2-G2-D3-A3-E4. This consistent interval structure across six strings (from the lowest F to E) makes it highly logical for scalar and arpeggiated playing. Movements and shapes become highly transferable across the fretboard. The highest two strings, however, break this pattern with a minor third interval (E4-G4). This deviation introduces a specific harmonic flavor to the upper register, potentially allowing for more traditional melodic phrasing or small, focused chord voicings on the higher strings, contrasting with the expansive fifths below.

The open strings themselves (F-C-G-D-A-E-G) don't immediately form a common chord, but rather a rich, extended cluster. You could interpret them as elements of an Fmaj7#11 or Cmaj13sus4, creating a complex, ethereal wash of sound. Due to the all-fifths nature, standard open chords like G, C, or D are not directly available. Instead, new, symmetrical shapes emerge:

• Perfect Fifths: Any two adjacent strings (from string 7 to 2) are a perfect fifth apart. This makes power chords incredibly easy to achieve with just one finger across two strings, or by barring to create stacked fifths (e.g., F-C, C-G, G-D, D-A, A-E).
• Triads: Forming traditional major or minor triads requires spanning more strings or significant stretches. For example, a C major triad (C-E-G) might involve the 6th string (C2), 2nd string (E4), and 1st string (G4) played open, or fretted notes across non-adjacent strings.
• Symmetry: The consistent interval pattern allows for intuitive exploration of scales and modes. Once you learn a shape on one set of strings, it translates directly to others, facilitating improvisation and composition.
• Upper Register: The E4-G4 minor third on the top two strings can be exploited for bluesy bends, melodic fills, or jazz-inspired voicings that would be cumbersome with a perfect fifth interval.

While challenging for conventional chord voicings, NST7 opens doors to unique sonic textures and a highly logical, if unorthodox, approach to the fretboard, making it a favorite for adventurous musicians.

Open String Notes

Here are the notes for each string in New Standard 7 NST7 tuning, from the lowest (7th) to the highest (1st):

• 7th String: F1
• 6th String: C2
• 5th String: G2
• 4th String: D3
• 3rd String: A3
• 2nd String: E4
• 1st String: G4

How to Tune

To achieve the New Standard 7 NST7 tuning, carefully adjust each string from its standard E standard 7-string tuning (B-E-A-D-G-B-E) as follows. Please pay close attention to the semitone movements, especially for larger changes, as string gauge adjustments may be advisable for optimal tension and safety.

• 7th String (B1): Tune down 6 semitones to F1. This is a significant drop. If your guitar normally uses a very heavy gauge for the B string, you may experience floppiness. Consider a heavier gauge string if tension is too loose.
• 6th String (E2): Tune down 4 semitones to C2. This is a notable drop. While often manageable, if your string feels too loose, a slightly heavier gauge might improve playability and intonation.
• 5th String (A2): Tune down 2 semitones to G2.
• 4th String (D3): Keep as is; no change to D3 (0 semitones).
• 3rd String (G3): Tune up 2 semitones to A3.
• 2nd String (B3): Tune up 5 semitones to E4. This is a substantial increase in tension. If your string feels overly tight or you're concerned about breakage, a lighter gauge string is strongly advised.
• 1st String (E4): Tune up 3 semitones to G4. While generally manageable, tuning up 3 semitones can increase tension significantly. Monitor for signs of excessive tightness, and consider a lighter gauge if necessary.