Tuning Analysis: Open F#/B add9

The "Open F#/B add9" tuning is a rich and harmonically complex setup specifically designed for 7-string guitars. It is described as a variation on the 7-string open B 2nd inversion tuning, but crucially incorporates a raised C# on the 4th string. This modification moves the tuning beyond a simple open chord, creating a sophisticated and resonant sonic palette.

Verbal Analysis

When strummed open, this tuning immediately presents a full and expansive B major nine chord (Bmaj9). The deep, guttural B1 on the 6th string and the resonant F#2 on the 7th string provide a powerful, rumbling foundation. This is beautifully complemented by the layering of F# (F3# and F4#) across the middle strings, giving the chord a thick, sustained fifth. The B3 on the 2nd string reinforces the root an octave higher, while the D#5 on the 1st string completes the major triad, adding brightness. The distinctive C#4 on the 4th string is the defining element, introducing the major ninth (add9) and imparting a sophisticated, open quality. This tuning excels in genres requiring dense, atmospheric chords, such as progressive rock, ambient soundscapes, or fusion, offering a sound that is both powerful and harmonically intriguing.

Technical Analysis

• Root & Octaves: The tuning centers around B, with B1 (6th string) and B3 (2nd string) establishing the root across different octaves.
• Perfect Fifth: F# (F2#, F3#, F4#) is heavily featured on the 7th, 5th, and 3rd strings, reinforcing the dominant fifth and adding considerable harmonic weight and sustain.
• Major Third: The D#5 on the 1st string provides the major third of the B major chord, completing its triadic structure.
• Added Ninth: The C#4 on the 4th string is the characteristic major ninth (or added second), which gives the tuning its unique "add9" flavor, adding color and complexity without dissonance.
• Open Chord: The open strings collectively form a Bmaj9 chord (B-D#-F#-C#).
• Intervalic Structure: The arrangement of notes, particularly the repeated roots and fifths, allows for very resonant and full voicings with minimal fretting, making it an excellent platform for open-string drones and intricate harmonic textures.

Open Chords and Reachable Shapes

The most prominent open chord is a majestic Bmaj9. One of the significant advantages of this tuning is the ease with which full major 9th chords can be played. By simply barring across all seven strings at any given fret, you instantly achieve a major 9th chord in the corresponding key. For example:

• Barring at the 1st fret yields a Cmaj9.
• Barring at the 2nd fret yields a C#maj9.

Beyond full bar chords, the tuning also facilitates:

• Power Chords: The abundant roots and fifths make two- and three-finger power chords incredibly easy to form across various string sets, offering a thick, heavy sound.
• Drone-based playing: The low B and F# strings serve as excellent drones for creating atmospheric melodies or harmonic textures on the higher strings.
• Unique Arpeggios: The open string voicings can inspire fresh melodic and arpeggiated patterns that sound remarkably full and resonant.

How to Tune

To achieve the "Open F#/B add9" tuning from a standard 7-string tuning (typically B2 E2 A3 D4 G4 B3 E5), please follow these precise instructions. Always tune slowly and carefully, especially when making significant pitch adjustments.

• 7th String (from B2 to F#2): Tune down 5 semitones. This is a substantial drop. For optimal string tension, intonation, and playability, a heavier gauge string is strongly advised.
• 6th String (from E2 to B1): Tune down 5 semitones. This is also a significant drop; considering a heavier gauge string for this position is highly recommended for best results.
• 5th String (from A3 to F#3): Tune down 3 semitones.
• 4th String (from D4 to C#4): Tune down 1 semitone.
• 3rd String (from G4 to F#4): Tune down 1 semitone.
• 2nd String (from B3 to B3): Keep as is; no change (0 semitones).
• 1st String (from E5 to D#5): Tune down 1 semitone.

Important Note on String Gauge: For any string movement that involves tuning up or down by 4 semitones or more, it is generally recommended to use a different gauge string. This helps maintain appropriate string tension, prevents potential damage to the instrument (for large upward tuning changes), and ensures better intonation and playability. As highlighted, the 7th and 6th strings in this tuning fall into this category due to their significant downward adjustments.

7th String: F#2

6th String: B1

5th String: F#3

4th String: C#4

3rd String: F#4

2nd String: B3

1st String: D#5