Tuning Analysis: 8 String Diminished B

This intriguing tuning, named "8 string diminished B", is presented for an 8-string guitar, although the provided notes define a 7-string configuration from String 7 (lowest) to String 1 (highest). The tuning's description suggests a pattern of minor thirds, aiming for a diminished sound. However, a detailed technical analysis of the specified notes reveals a more complex and unconventional structure.

Verbal Description:

At first glance, the initial strings (B1, D2, F2) establish a clear B diminished triad, hinting at a dark, tense, and harmonically unstable foundation often associated with diminished harmonies. This could lend itself to genres like metal, progressive rock, jazz fusion, or experimental music where tension and dissonance are desired. However, the subsequent string pitches introduce significant departures from this initial pattern, resulting in a highly unique and re-entrant tuning. The large leaps and the descending pitch between the 4th and 3rd strings (G#3 to B2) create a non-linear melodic progression across the open strings. This might offer a very distinct and open sound, possibly inspiring new approaches to arpeggiation and chord voicings that are not readily available in standard tunings. It could be challenging for players accustomed to linear scales and standard chord shapes but rewarding for those seeking an unconventional sonic palette.

Technical Analysis:

The tuning specifies the following pitches from String 7 (lowest) to String 1 (highest): B1, D2, F2, G3#, B2, D3, G4#.

• String 7 (B1) to String 6 (D2): A minor third (3 semitones).
• String 6 (D2) to String 5 (F2): A minor third (3 semitones).
• String 5 (F2) to String 4 (G#3): A compound major third (15 semitones), meaning an octave plus a major third. This is a significant upward leap and immediately breaks the initial minor third pattern.
• String 4 (G#3) to String 3 (B2): A re-entrant interval where String 3 is pitched 9 semitones (a perfect fifth) *lower* than String 4. This is a highly unusual characteristic for guitar tuning.
• String 3 (B2) to String 2 (D3): A minor third (3 semitones).
• String 2 (D3) to String 1 (G#4): A compound augmented fourth (18 semitones), meaning an octave plus an augmented fourth. This is another substantial upward leap.

While the initial strings (B1, D2, F2) indeed form a B diminished triad, the claim of "tuned in minor thirds making a diminished tuning" is not consistently maintained across all strings. The subsequent intervals, including the compound major third, the re-entrant descending perfect fifth, and the compound augmented fourth, create a highly fragmented and non-standard tuning. The open strings themselves do not form a single, easily recognizable standard chord (like a diminished 7th) across all available strings due to the re-entrant nature and large interval leaps. Players will likely find themselves exploring entirely new chord shapes and arpeggio patterns, as standard chord voicings will not translate directly. This tuning demands an experimental approach and offers a unique sonic landscape for adventurous players.

How to Tune:

• String 7 (lowest string) to B1: Keep as is; no change (0 semitones).
• String 6 to D2: Tune down 2 semitones.
• String 5 to F2: Tune down 4 semitones. (Caution: Tuning down 4 semitones approaches the limit where a different gauge string might be advised for optimal tension and tone.)
• String 4 to G3#: Tune down 6 semitones. (Warning: Tuning down 6 semitones significantly exceeds the recommended limit of 4 semitones. A heavier gauge string is strongly advised to maintain proper tension, intonation, and playability, and to prevent potential string flop or buzzing.)
• String 3 to B2: Tune down 8 semitones. (Extreme Warning: Tuning down 8 semitones is a very significant drop. A much heavier gauge string is essential for this string to function correctly. Without it, the string will be extremely loose, difficult to intonate, and likely unplayable.)
• String 2 to D3: Tune down 9 semitones. (Extreme Warning: Tuning down 9 semitones is a very significant drop. A much heavier gauge string is essential for this string to function correctly. Without it, the string will be extremely loose, difficult to intonate, and likely unplayable.)
• String 1 (highest string) to G4#: Tune down 8 semitones. (Extreme Warning: Tuning down 8 semitones is a very significant drop. A much heavier gauge string is essential for this string to function correctly. Without it, the string will be extremely loose, difficult to intonate, and likely unplayable.)

Please note: The tuning instructions indicate significant downtuning for most strings. For tunings exceeding 4 semitones down, consider using heavier gauge strings to maintain proper string tension, intonation, and playability. For drops of 8 or 9 semitones, a significantly heavier gauge string is highly recommended or even necessary.