Actual Bmb6 Tuning: A Deep Dive

This is a highly distinctive and specialized tuning, originally designed for a very small guitar that could not accommodate standard tunings. Its structure is exceptionally unique, featuring a re-entrant arrangement and extremely wide intervals between several adjacent strings. This makes it unsuitable for standard guitar playing techniques and suggests a purpose-built approach, likely for melodic playing or very specific harmonic voicings.

Verbal Analysis

The "Actual Bmb6" tuning presents a fascinating, almost avant-garde, sonic landscape. The immediate proximity of B2 and C2 on the lowest two strings creates a striking, dissonant minor second, setting an immediate unusual tone. Following this, there are enormous jumps in pitch, particularly from the 5th to the 4th string (C2 to D3) and the 4th to the 3rd string (D3 to F4#). Perhaps the most unconventional aspect is the re-entrant nature between the 3rd and 2nd strings, where the 2nd string (B3) is tuned significantly lower than the 3rd string (F4#), creating a dramatic drop in pitch before another massive leap to the highest string (G5#). This tuning is clearly not designed for conventional strumming; instead, it encourages exploration of individual string voicings and arpeggiated figures. The high G#5 on the first string suggests a bright, piercing top end, ideal for cutting through a mix on a smaller instrument.

Technical Analysis

The open notes for this tuning, from the lowest (6th) string to the highest (1st) string, are:

• 6th String: B2
• 5th String: C2
• 4th String: D3
• 3rd String: F4#
• 2nd String: B3
• 1st String: G5#

Analyzing the intervals between adjacent strings reveals the extreme nature of this tuning:

• B2 to C2 (6th to 5th string): Minor 2nd (up 1 semitone). An unusually tight and dissonant interval for adjacent open strings.
• C2 to D3 (5th to 4th string): Major 9th (up 14 semitones). A very large melodic leap, spanning an octave and a major second.
• D3 to F4# (4th to 3rd string): Major 10th (up 18 semitones). Another significant melodic jump, an octave and a major third.
• F4# to B3 (3rd to 2nd string): Diminished 5th (down 7 semitones). This is a re-entrant interval, meaning the 2nd string is tuned significantly lower than the 3rd string.
• B3 to G5# (2nd to 1st string): Major 17th (up 27 semitones). An exceptionally wide interval, spanning two octaves and a major sixth, marking the highest string at a very high pitch.

The open strings provide a unique collection of notes: B, C, D, F#, G#. While a standard B minor 6 chord (B-D-F#-G#) could be theoretically implied from some of these notes, the inclusion of C2 and the re-entrant nature makes any simple open chord voicings highly complex or dissonant. The tuning hints at a modal or scalar framework focusing on these specific pitches. Its design points towards a very specific melodic or arpeggiated playing style rather than broad harmonic strokes, ideally suited for the smaller instrument it was intended for, allowing for unique timbral qualities and an extended melodic range on a compact scale.

Open String Notes

Below are the target notes for each string, from the thickest (6th) to the thinnest (1st).

6th String: B2
5th String: C2
4th String: D3
3rd String: F4#
2nd String: B3
1st String: G5#

How to Tune to Actual Bmb6

To achieve the Actual Bmb6 tuning, follow these precise string adjustments. Given the extreme nature of some movements, especially for a standard-sized guitar, exercise caution and consider a specialized string set to avoid breakage or damage to your instrument. The original intent for this tuning was a "very small guitar," which implies that standard string gauges on a full-size guitar might be under or over tensioned significantly, affecting playability and potentially damaging the instrument.

• 6th String (Lowest): Tune up 7 semitones to reach B2. This is a substantial increase in tension. Caution: Tuning up 7 semitones is a significant change. A lighter gauge string (e.g., a high E string from a standard set) is strongly advised to prevent breakage or neck damage.
• 5th String: Tune down 9 semitones to reach C2. This is a considerable decrease in tension. Caution: Tuning down 9 semitones will drastically reduce string tension. A heavier gauge string (e.g., a baritone or bass string) is strongly advised to maintain playability and tone.
• 4th String: Keep as is; no change (0 semitones) to maintain D3.
• 3rd String: Tune down 1 semitone to reach F4#.
• 2nd String: Keep as is; no change (0 semitones) to maintain B3.
• 1st String (Highest): Tune up 4 semitones to reach G5#. This is a notable increase in tension. Caution: Tuning up 4 semitones approaches the limit for standard string gauges. A lighter gauge string is advised, and proceed with care to avoid string breakage.