# 9 String Tuning



## death metal atticted (Jul 31, 2011)

I wonder what is the standard tuning for a nine string,does anyone now?


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## Dayn (Jul 31, 2011)

Six: EBGDAE
Seven: EBGDAEB
Eight: EBGDAEBF#
Nine: EBGDAEBF#C#

...If you wanted to continue adding lower strings in fourths. In that case, that would be 'standard', if a nine-string guitar can ever be called 'standard'.


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## troyguitar (Jul 31, 2011)

I use EADGCFBbDG on mine and look at it as a short scale bass with an extended high range more than anything, except I've preserved the M3 between the second and third strings so I can use regular guitar fingerings. So in my world I'd probably call "standard" EADGCFBbEbAb.


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## Explorer (Aug 1, 2011)

The 8-string tuning I generally use preserves the second/third string major third interval so I can use guitar chords at the top, with all fourths beyond that (EADGCFAD). I'm on the verge of getting a 9-string which extends that logic down one string (BEADGCFAD), as it fits with what I do on 5-/6-string bass, as well as normal guitar.


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## TwitTheShred (Aug 2, 2011)

I don't like the thought of going lower then F# so i would tune mine

F#BEADGBEA


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## Hollowway (Aug 2, 2011)

I can't deal with not having the top six strings in standard tuning. I can add lower strings in 4ths all day long and play with no needed adaptation, but throw a high A on there, or tune in 4ths, and I'm permanently jacked up. I'm just so used to the weirdness of that major 3rd.


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## Cheesebuiscut (Aug 2, 2011)

I doubt 9's will ever be standard, and by the time you get to such a niche instrument the tunings vary so wildly that it would be hard to have a real standard tuning. 

But if you follow the "standard" for every other erg just add a lower 4th, rinse repeat for 10+ strings.


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## Variant (Aug 4, 2011)

Like a long scale one to add another lower string over an 8? C#1 I'd say.


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## ElRay (Aug 5, 2011)

If I had a 9-string, it would most definitely be tuned: Ab-C-E-Ab-C-E-Ab-C-E

I'd also likely get two single-string capos, so I could do A/D drones (when needed) like you would on a standard guitar, only lower.

Ray


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## Explorer (Aug 5, 2011)

ElRay said:


> If I had a 9-string, it would most definitely be tuned: Ab-C-E-Ab-C-E-Ab-C-E



Wow! Just taking a brief look at the chord forms, that doesn't really lend itself to any chordal work at all! 

What melodic or chordal advantages do you expect from that tuning?


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## bostjan (Aug 5, 2011)

Six string Standard Tuning: EADGBE
Seven string "Standard" Tuning: AEADGBE (Although Rock Standard is BEADGBE)
Eight String "Standard" Tuning: EADADGBE (Although Rock Standard is something like F#BEADGBE)

There is no nine string "standard" tuning, nor would anyone likely abide by it if there was one, as you see from seven and eight string "standard" tunings, according to original literature on extended range guitars from pre-1990's periods.

Certainly the best tuning depends on the scale length of the instrument and the intent and training of the player. Playing with a slide, CFACEGACE would likely serve best purpose at 25" static scale lengths. With multiscale and spanish style playing in effect, tunings like C#F#BEADGBE or F#BEADGBEA or BEADADGBE make sense.


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## Explorer (Aug 6, 2011)

Bostjan, when I read a lot of threads here, I see "standard" used for 8 with the lowest note listed, and then assuming fourths for all but the normal guitar discontinuity. So, when someone says "F# standard," they're referring to F#BEADGBE. 

The other convention I've seen, using this same example, is to refer to changing the bottom (in this case, to E) as "Drop E" (EBEADGBE). Sometimes there is ambiguity in the second lowest string (B versus A).

I normally just list all the notes I'm using, so that there is no wondering about what is meant, but I'm fairly certain that others on this site are using "standard" in the way I describe.


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## ElRay (Aug 6, 2011)

Explorer said:


> Wow! Just taking a brief look at the chord forms, that doesn't really lend itself to any chordal work at all!
> 
> What melodic or chordal advantages do you expect from that tuning?



It's all Major 3rds. It works quite well for chords (actually 7th chords are a lot easier) and single note runs. Chord shapes and scale patterns don't change, regardless of where you are on the neck. The intervals between strings are smaller, so you can play dense, piano-like chords. Chromatic runs don't require any shifts. Walking bass is easier to play. It likely has more applicability to Blues/Jazz/Solo players than guitarists in a regular band setting.

What it doesn't work well for are pieces that rely on the open E/A/D drones from Standard tuning, "Lifesong Chords" (chords up the neck with open strings), standard folk/cowboy/open chords and "airy"/wide interval chords.

Other points of reference:
Pull-up the posts here with the "3rds Tuning" and/or "Major 3rds" tags:
3rds tuning - Sevenstring.org - Threads Tagged with 3rds tuning
major 3rds - Sevenstring.org - Threads Tagged with major 3rds

The Major 3rd Tuning
M3 Guitar -- Play any style of music on an electric or acoustic guitar tuned in major thirds
Major 3rd tuning « Kubaz&#039;s Mathematical Corner
major 3rds tuning - Google Search

Ray


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## vansinn (Aug 7, 2011)

I don't have a niner but have seriously considered one, and will likely have it sometime into the future.
As such, I've experimented with what to do with the top string, in case A4 shouldn't work (tension/breakage-wise).

I found that F#BEADGBE{G or G#} should work pretty well for me.
The G4 (minor3rd step) or G#4 (major3rd step) may look a bit weird for shredding, but fits nicely an an add-on to chord works.
For shredding, the G#4 major3rd step really isn't any more weird than the G->B in usual tuning.

What's also interesting is that when having it tuned F#BEADGBEG, dropping E4 to Eb4 will result in having the top four strings in major 3rd, which I find quite useful for arab/indian scales and intonations.
To this, dropping the low F# to E, for drop-E tuning, could be pretty cool for being able to quickly flip between low power chords chugga and short-burst semi-shreds higher up.

Those two alterations could easily be done via two Sperzel or Hipshot drop tuners


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## ixlramp (Aug 7, 2011)

Neutral thirds quartertone tuning (3.5 semitone intervals) would work well on a 9 string, with a little retuning several simple Just Intonation scales can also be played:
http://www.sevenstring.org/forum/music-theory-lessons-techniques/161530-retune-play-quartertone-scales-microtonal-beginners-guide.html


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## bostjan (Aug 7, 2011)

I think F#BEADGBE is most common for 8 strings these days, but the 8 string guitar predates this site by a few decades. 

This generation of players will undoubtably go for a tuning that has EADGBE as the six treble strings, then add a string a fourth lower for each additional string.

i.e. 7) BEADGBE
8) F#BEADGBE
9) C#F#BEADGBE
10) G#C#F#BEADGBE
11) D#G#C#F#BEADGBE
12) A#D#G#C#F#BEADGBE
etc.

There will always be a majority that will choose to add a lower string rather than a higher one, but I think that the typical lead player would get the most out of adding low and high, alternating in the following fashion:

7) BEADGBE
8) F#BEADGBE
9) F#BEADGBEA
10) C#F#BEADGBEA
11) C#F#BEADGBEAD
12) G#C#F#BEADGBEAD

Obviously, the high D would be difficult to include on an instrument with a low G#, but I argue that using traditional materials will only yield low strings of extremely low fidelity unless an extreme scale span is used.

With the advent of high tensile strength strings, high density strings, and parametric multiscale, perhaps such instruments as eleven string single course examples might actually obtain manageable levels of aural fidelity.


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## ElRay (Aug 7, 2011)

ixlramp said:


> Neutral thirds quartertone tuning ...


I am going to have to try this someday. Already being a fan of "M3" tuning, this is a logical choice.

Ray


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## ixlramp (Aug 7, 2011)

Neutral thirds is essentially the quartertone version of 12ET alternating major and minor thirds, and also isomorphic. The Just Intonation thirds tuning is alternating JI major and minor thirds.
Retuning a M3 set to 'n3' creates a slightly heavy-bottom-light-top tension, which i think is ideal. Over 9 strings the lowest string is tuned up a tone, and the highest detuned a tone:

semitones of retuning M3 -> n3
-2
-1.5
-1
-0.5
0
+0.5
+1
+1.5
+2


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