Does anyone ever add an extra F# on the sixth string

[davidbeinct]

I don’t add it but I’ll alternate between it and the B when fingerpicking. Same with alternating between C and G fingerpicking a C major chord.

[Cecil6243]

Originally Posted by cdkrugjr

Not a big deal if you have a bass player playing the B.

But if not, a “Second Inversion Triad” or <nerdy>the 6-4 inversion<\nerdy> gets a bit weird.

Often, the second inversion is treated as a “double suspension” of the 5 of the chord, so in B you’re playing f#-b-d#, is often treated as “F#sus4sus6” which would then resolve to f#-a#-c#.

Now that particular voicing really can’t be played…we don’t have a c# on the 4th string—but it’s helpful nonetheless to think about Why we might want an inversion rather than a root-position chord.

Not sure what you said there but it sounds pretty impressive!

[Italuke]

The above is saying essentially that the "chord" is actually two chords, one tension, one release. (As I noted above, music happens over time, not static.) Staying in this key, from low to high, the tension (suspended) chord would be F#-B-D# resolving to F#-A#-C#. (This pair would then further resolve to a ROOT position B chord, the final release harmony.)

You hear this cadential structure all the time in classical and all genres of music influenced by classical. It's ubiquitous.