This tuning, referred to as "b tuning 2," is described as being suitable for rock music. While its lowest string is a very deep B1, offering a heavy, resonant foundation characteristic of low tunings in rock, the overall string progression is highly unconventional and features extreme intervallic jumps, setting it apart significantly from standard or even most common alternative guitar tunings.

Technical Analysis

The open strings are tuned to B1, F#3, A2, F#4, G#4, C#5. Analyzing the precise intervals between adjacent strings reveals a truly unique and challenging soundscape:

• The 6th string (B1) establishes an exceptionally low root.
• From the 6th to the 5th string (B1 to F#3) is an enormous leap of 30 semitones (equivalent to two octaves and a tritone), creating a vast and uncommon intervallic gap.
• The 5th to the 4th string (F#3 to A2) then descends dramatically by 10 semitones (an octave and a minor third), placing a significantly lower note immediately after a much higher one.
• The 4th to the 3rd string (A2 to F#4) ascends sharply again by 21 semitones (an octave and a major sixth).
• The 3rd to the 2nd string (F#4 to G#4) is a very tight minor second (1 semitone), introducing immediate tension and dissonance.
• Finally, the 2nd to the 1st string (G#4 to C#5) is a major third (4 semitones).

Due to these extreme and non-linear jumps in pitch between adjacent strings, forming conventional open chords will be exceptionally challenging, if not impossible. The tuning's inherent dissonance and wide, sometimes reversed, string range suggest it may be best suited for experimental music, specific single-note riff-based playing, drone textures, or exploring highly unique and potentially dissonant harmonic clusters, rather than traditional chordal accompaniment. While the very low B string certainly contributes to a heavy sound for rock, the subsequent strings demand a highly specialized and unconventional approach to composition and playing.

Open Chords and Reachable Shapes

Given the highly unusual and non-sequential nature of the string pitches (B1, F#3, A2, F#4, G#4, C#5), this tuning does not readily lend itself to traditional open major, minor, or dominant chords. The combination of notes does not form a recognizable diatonic or common altered chord structure. The only 'chord' that might be somewhat accessible is a highly spread B power chord by playing the 6th string (B1) and the 5th string (F#3), though the two-octave separation of the F# makes it unconventional. The close minor second between F#4 and G#4 also presents a dissonant interval that would typically avoid standard chord voicings. Players would likely need to develop entirely new fingerings and approaches, potentially focusing on single-string melodies, two-note intervals, or highly dissonant clusters to fully utilize the unique sonic potential of this setup.

How to Tune

To achieve this "b tuning 2" on a standard six-string guitar, you will need to adjust your strings significantly. Please follow the instructions below carefully for each string. For strings requiring a movement of 5 semitones down, considering a heavier gauge string might be beneficial for optimal tension and tone, as exceeding a drop of 4 semitones can sometimes compromise string playability on standard gauges.

• 6th String (to B1): Tune down 5 semitones.
• 5th String (to F#3): Tune down 3 semitones.
• 4th String (to A2): Tune down 5 semitones.
• 3rd String (to F#4): Tune down 1 semitone.
• 2nd String (to G#4): Tune down 3 semitones.
• 1st String (to C#5): Tune down 3 semitones.

String 6: B1

String 5: F#3

String 4: A2

String 3: F#4

String 2: G#4

String 1: C#5