This unique and resonant tuning, aptly named "Drop B John Martyn," evokes the rich, open, and often melancholic soundscapes characteristic of the legendary British folk-jazz artist. It's designed to provide a deep, droning foundation, perfect for intricate fingerstyle arrangements and expressive melodic lines.

Technical Analysis

The open strings are tuned to B1 A2 D3 G3 A3 D4 from low to high.

• The most striking feature is the extremely low 6th string, tuned down to B1, providing a powerful, sub-bass fundamental.
• The open strings contain the notes B, A, D, G. When strummed open, this creates a rich, suspended harmony. Specifically, it can be interpreted as a Bm7(sus4) (B-D-G-A) or a Gmaj9/B, providing a deep, slightly melancholic, and expansive sonic palette.
• The tuning also features a prominent D and A presence across multiple octaves (A2, A3 and D3, D4), allowing for natural resonance and drone effects, especially around D major or D suspended sonorities.
• The interval structure is highly non-standard, moving away from conventional intervals and opening up new harmonic possibilities.

Open Chords & Reachable Shapes

• Open Strum: As mentioned, B-A-D-G-A-D creates a complex Bm7(sus4) or Gmaj9/B sound, which is immediately playable and highly evocative.
• Drones: The doubled A and D notes make this tuning excellent for droning. Holding down a single note on the lower strings while allowing the open higher strings to ring out will produce beautiful, sustained textures.
• Barre Chords: While not a 'standard' open tuning for barre chords, the consistent interval of a perfect 4th between the 4th, 3rd, and 1st strings (D-G-A-D) and the 5th and 2nd strings (A-A) makes for interesting parallel voicings when barring across certain frets, allowing for easily shifted chord shapes.
• Fingerstyle: The wide intervals and deep bass make it ideal for intricate fingerpicking patterns where the low B can provide a moving bass line beneath shimmering arpeggios on the higher strings.
• Accessible Chords: Experimenting with shapes that utilize the open A and D strings will quickly yield unique major, minor, and suspended voicings that might be challenging in standard tuning. The low B allows for powerful root-5 shapes or open power chords.

How to Tune

1. 6th String (Low E): Tune down 5 semitones from E to B1. Caution: Tuning this string down 5 semitones is a significant change. If your string gauge is too light, it may feel slack or buzz. Consider a heavier gauge string for optimal tone and tension.
2. 5th String (A): Keep as is; no change (0 semitones). It remains A2.
3. 4th String (D): Keep as is; no change (0 semitones). It remains D3.
4. 3rd String (G): Keep as is; no change (0 semitones). It remains G3.
5. 2nd String (B): Tune down 2 semitones from B to A3.
6. 1st String (High E): Tune down 2 semitones from E to D4.

6th String (Low E): B1

5th String (A): A2

4th String (D): D3

3rd String (G): G3

2nd String (B): A3

1st String (High E): D4