Tuning Analysis: Resonant Minor Pentatonic

This experimental guitar tuning, which we've named "Resonant Minor Pentatonic" to reflect its unique qualities and the creator's intent, is a deeply expressive configuration. The creator's personal note, "Im just Trying out a new tuning i made to see if it sound good", highlights its exploratory nature and potential for fresh sonic landscapes. This tuning offers a broad canvas for musical expression, spanning a wide dynamic and pitch range across the fretboard.

Verbal Analysis

The "Resonant Minor Pentatonic" tuning is characterized by its expansive intervallic structure, particularly the deep, resonant tones on the lower strings (A#2 and D2) and the remarkably high C#5 on the first string. This creates a wide sonic palette, capable of producing rich, full-bodied chords with significant harmonic depth, as well as bright, soaring melodic lines. The unusual relationship between the 6th and 5th strings (A#2 and D2) suggests the potential for intriguing drone effects and unconventional bass voicings. Players will find this tuning inspiring for creating new chord voicings and exploring unique melodic patterns that naturally emerge from the open string relationships. The wide range, from D2 to C#5, allows for melodies to ascend dramatically while maintaining a grounded bass presence.

Technical Analysis

The open strings for this guitar tuning are as follows (from 6th string to 1st string):

• 6th String: A#2
• 5th String: D2
• 4th String: E3
• 3rd String: G3
• 2nd String: B3
• 1st String: C#5

Examining the notes (D, A#, E, G, B, C#), we observe a collection that leans towards minor and perhaps even augmented or diminished harmonic possibilities, especially with the A# (B♭) and C#. The presence of D2, G3, and B3 on strings 5, 3, and 2 respectively, readily outlines a G Major triad (G-B-D), which can be strummed as an open chord. Similarly, strings 4, 3, and 2 (E3, G3, B3) form an easily accessible E Minor triad (E-G-B). The notes A#2, E3, G3 could hint at an E Minor chord with an added tritone or an A# diminished sound. The overall set provides a fertile ground for exploring chord shapes that resonate with minor pentatonic and blues scales, as the original "Pentatonic minor tuning" name suggests. The A# (B♭) in combination with D, E, G, C# hints at complex jazz or blues voicings, potentially incorporating elements of D harmonic minor or even a dominant 7#9 feel if rooted differently.

How to Tune

To achieve the "Resonant Minor Pentatonic" tuning from standard EADGBe, follow these precise adjustments. When tuning up or down more than 4 semitones, it is generally advised to consider using a different gauge string to prevent potential damage or achieve optimal tension and tone.

• 6th String (Low E): Tune down 6 semitones from E2 to A#2. Caution: This is a significant drop. A heavier gauge string is strongly recommended for optimal performance and to avoid a floppy feel.
• 5th String (A): Tune down 7 semitones from A2 to D2. Caution: This is a significant drop. A heavier gauge string is strongly recommended for optimal performance and to avoid a floppy feel.
• 4th String (D): Tune up 2 semitones from D3 to E3.
• 3rd String (G): Keep as is; no change (0 semitones) at G3.
• 2nd String (B): Keep as is; no change (0 semitones) at B3.
• 1st String (High E): Tune down 3 semitones from E4 to C#5.