Verbal Analysis: The Biffy Clyro 'Pause It and Turn It Up' Tuning

This unique tuning, notably used by Biffy Clyro in their song 'Pause It and Turn It Up', crafts a soundscape that is both intensely heavy and richly resonant. With its extremely low B on the 6th string and a remarkably high F# on the 3rd string, it immediately establishes a distinct tonal character. The open strings, when strummed, harmonically form a full and complex B minor 7th chord (B, D, F#, A), providing a natural depth and inherent musicality. The unusual re-entrant nature of the 3rd string (F#4) being tuned higher in pitch than the adjacent 2nd string (B3) gives this tuning an almost mandolin-like or harp-like quality in the middle register, challenging conventional fingerings but opening up exciting new melodic and harmonic possibilities.

Technical Analysis

This BADF#BD tuning (B1-A2-D3-F#4-B3-D4) presents several significant deviations when compared to standard EADGBe (E2-A2-D3-G3-B3-E4):

• 6th String (Low E to B): Tuned down a perfect fifth (7 semitones) from E2 to B1. This creates an exceptionally deep and powerful bass foundation.
• 5th String (A to A): Retains its standard pitch of A2.
• 4th String (D to D): Retains its standard pitch of D3.
• 3rd String (G to F#): Tuned significantly from G3 to F#4. This represents a raise of 11 semitones (or an octave plus a minor second down), elevating the 3rd string to an unusually high pitch, making it higher than the adjacent 2nd string (B3). This creates a re-entrant tuning segment between strings 3 and 2.
• 2nd String (B to B): Retains its standard pitch of B3.
• 1st String (High E to D): Tuned down a whole step (2 semitones) from E4 to D4.

The string-to-string intervals from lowest to highest pitch are particularly distinctive:

• B1 (6th) to A2 (5th): Major 7th (11 semitones)
• A2 (5th) to D3 (4th): Perfect 4th (5 semitones)
• D3 (4th) to F#4 (3rd): Major 10th (Major 3rd + Octave, 15 semitones)
• F#4 (3rd) to B3 (2nd): Descending Minor 6th (This is the re-entrant interval, where the higher numbered string is lower in pitch)
• B3 (2nd) to D4 (1st): Minor 3rd (3 semitones)

Open Chords and Voicings

The open strings (B, A, D, F#, B, D) form a powerful and resonant B minor 7th chord. This allows for rich, complex voicings simply by strumming open strings, making it ideal for creating full pads or impactful rhythm guitar parts. Due to the presence of two B's (B1, B3) and two D's (D3, D4) across the tuning, power chords based on B or D will sound exceptionally thick and expansive. While standard chord shapes will likely require significant modification due to the varied intervals and the re-entrant F#4 to B3 relationship, this unconventional layout encourages creative fingerings and the discovery of fresh, unique voicings and melodic patterns.

Current Tuning Notes

• String 6 (lowest): B1
• String 5: A2
• String 4: D3
• String 3: F#4
• String 2: B3
• String 1 (highest): D4

How to Tune from Standard EADGBe

To achieve the BADF#BD tuning from standard EADGBe (E2-A2-D3-G3-B3-E4), follow these specific string movements:

• String 6 (Low E string): Tune down 5 semitones. Your E2 string should be tuned down to B1.

  Note: Tuning down 5 semitones is a significant tension reduction. For optimal playability and tone, a heavier gauge string is advised.

• String 5 (A string): Keep as is; no change (0 semitones). Your A2 string remains A2.
• String 4 (D string): Keep as is; no change (0 semitones). Your D3 string remains D3.
• String 3 (G string): Tune down 1 semitone. Your G3 string should be tuned down to F#3.

  Important Note: While the tuning instruction specifies tuning down 1 semitone (resulting in F#3), the intended target note for this tuning, as listed in the 'Current Tuning Notes', is F#4 (an octave higher). Achieving F#4 from G3 would typically involve tuning up 11 semitones, which is an extreme increase in tension and is not reflected in the provided 'string_movements' data. If aiming for F#4, extreme caution and a specialized, very light gauge string set would be required, and it may not be feasible or safe for all guitars.

• String 2 (B string): Keep as is; no change (0 semitones). Your B3 string remains B3.
• String 1 (High E string): Tune down 2 semitones. Your E4 string should be tuned down to D4.