Verbal Analysis:

The "BAD BABE" tuning, as its name suggests, offers a unique and somewhat melancholic sonic landscape, perfectly suited for crafting "heartache songs." This tuning immediately strikes with a deep, resonant quality due to the heavily dropped low B string, providing a strong foundation for rich, open voicings. The arrangement of notes, particularly the repeated A and B across different octaves, creates a sense of interconnectedness and droning possibilities, reminiscent of folk, blues, or even some alternative rock genres. It feels introspective and emotionally charged, inviting fingerstyle patterns that highlight the open intervals or powerful, expressive strumming that leverages the full, complex harmonic cluster of the open strings.

Technical Analysis:

This is an intriguing drop tuning with the open notes configured as B1 A2 D3 B2 A3 E4. Let's break down the intervals and potential harmonic implications:

• Open Chord Voicing: The open strings, when played together, form a complex harmony. Grouping the notes (B, A, D, E), we can identify a B minor tonality with added extensions. Specifically, B-D-A forms a B minor 7th (minus the F# fifth). Adding the E from the high string extends this to a B minor 11th chord, creating a rich, suspended, and slightly dark sound. The repeated B and A notes provide a dense cluster within this minor tonality, making it sound full and resonant without being muddy.
• Intervals and Drones:
  • The interval from the 6th string (B1) to the 5th string (A2) is a Major 7th (or minor 2nd down), providing a tense, wide interval.
  • The 5th (A2) to 4th (D3) string is a perfect 4th, a stable interval.
  • The 4th (D3) to 3rd (B2) string is a minor 3rd *down*, which is unusual for adjacent strings and contributes to the unique voicings.
  • The 3rd (B2) to 2nd (A3) string is a Major 7th (or minor 2nd down), another wide, interesting interval.
  • The 2nd (A3) to 1st (E4) string is a perfect 4th.
  The presence of two B's (B1, B2) and two A's (A2, A3) across different octaves encourages drone-like playing and makes it easy to form power chords or open harmonies by simply muting certain strings or adding a single finger.
• Chords Within Reach: Given the open B minor 11th tonality, various B minor shapes will be highly accessible and resonant. Simple one or two-finger additions can easily shift the harmony to Bm7, Bsus, or even variations of G major/minor or D major/minor, which share common notes. The low B allows for powerful root-note playing, while the open E on the high string offers bright contrast and easy access to E minor or E major embellishments. The open Perfect 4th intervals on strings 5-4 and 2-1 are excellent for creating rich, ringing chords with minimal effort.

How to Tune:

To achieve the "BAD BABE" tuning from standard E Standard tuning (E-A-D-G-B-e), follow these steps:

• String 6 (Low E to B1): Tune down 5 semitones. Careful Consideration: Tuning down 5 semitones is a significant drop. We strongly advise using a heavier gauge string for the 6th string to maintain adequate string tension and intonation, preventing excessive floppiness and buzzing.
• String 5 (A to A2): Keep as is; no change (0 semitones).
• String 4 (D to D3): Keep as is; no change (0 semitones).
• String 3 (G to B2): Tune down 8 semitones. Extreme Caution: Tuning down 8 semitones is a very substantial drop. It is highly recommended to use a significantly heavier gauge string for the 3rd string. Without this, the string will likely be extremely loose, difficult to play in tune, and prone to buzzing.
• String 2 (B to A3): Tune down 2 semitones.
• String 1 (High E to E4): Keep as is; no change (0 semitones).

String 6: B1

String 5: A2

String 4: D3

String 3: B2

String 2: A3

String 1: E4