Tuning Overview: B Minor Eleventh Re-entrant

This is a highly unconventional 7-string guitar tuning designed to create a rich, expansive soundscape. It features a unique re-entrant structure with significant pitch variations between adjacent strings, moving beyond the typical ascending or descending patterns found in most tunings. The overall character is deeply resonant and harmonically complex, making it ideal for experimental, ambient, or progressive fingerstyle compositions.

Technical Analysis

The open strings are tuned as follows, from thickest (7th) to thinnest (1st):

• 7th String: F#2
• 6th String: B1
• 5th String: E2
• 4th String: A2
• 3rd String: D3
• 2nd String: F#4
• 1st String: B3

The intervals between adjacent strings are notably varied:

• String 7 (F#2) to String 6 (B1): A Perfect 5th down.
• String 6 (B1) to String 5 (E2): A Perfect 4th up.
• String 5 (E2) to String 4 (A2): A Perfect 4th up.
• String 4 (A2) to String 3 (D3): A Perfect 4th up.
• String 3 (D3) to String 2 (F#4): A Major 10th up (an octave plus a Major 3rd). This is a very significant jump in pitch.
• String 2 (F#4) to String 1 (B3): A Perfect 4th down. This is also a considerable drop, adding to the re-entrant character.

When all open strings are strummed together, they collectively form a B Minor Eleventh chord (B, D, E, F#, A). The F#2 on the lowest string acts as a strong drone or the fifth of the B chord, grounding the entire voicing. The immense range from B1 to F#4 allows for a lush, orchestral spread of this chord.

The series of Perfect 4ths on strings 6 through 3 (B1-E2-A2-D3) offers familiar fingerings for certain movable chord shapes within that subset, particularly for power chords or suspended voicings. However, the extreme re-entrant intervals on strings 3-2 and 2-1 fundamentally alter traditional chord voicings, encouraging players to explore unique arpeggiated patterns, open-string drones, and non-linear melodic phrases rather than conventional chord grips.

How to Tune

To achieve this B Minor Eleventh Re-entrant tuning, you will need to adjust each string significantly. Please be mindful that tuning down 5 semitones from a standard pitch is a substantial change, and it is advisable to consider using different string gauges to maintain optimal tension and tone. Here are the specific adjustments for each string:

• 7th String: Tune down 5 semitones to reach F#2. Caution: Tuning down 5 semitones is a a significant adjustment; consider a heavier string gauge to avoid floppiness and maintain intonation.
• 6th String: Tune down 5 semitones to reach B1. Caution: Tuning down 5 semitones is a significant adjustment; consider a heavier string gauge to avoid floppiness and maintain intonation.
• 5th String: Tune down 5 semitones to reach E2. Caution: Tuning down 5 semitones is a significant adjustment; consider a heavier string gauge to avoid floppiness and maintain intonation.
• 4th String: Tune down 5 semitones to reach A2. Caution: Tuning down 5 semitones is a significant adjustment; consider a heavier string gauge to avoid floppiness and maintain intonation.
• 3rd String: Tune down 5 semitones to reach D3. Caution: Tuning down 5 semitones is a significant adjustment; consider a heavier string gauge to avoid floppiness and maintain intonation.
• 2nd String: Tune down 5 semitones to reach F#4. Caution: Tuning down 5 semitones is a significant adjustment; consider a heavier string gauge to avoid floppiness and maintain intonation.
• 1st String: Tune down 5 semitones to reach B3. Caution: Tuning down 5 semitones is a significant adjustment; consider a heavier string gauge to avoid floppiness and maintain intonation.