Verbal Analysis: The Dark Descent

The 'Bad minor' tuning is an extraordinarily dark, low, and intensely dissonant tuning for the Guitar. Drawing from its creator's description, 'Darkened drop B minor/(E5(#11)', this is not a tuning for the faint of heart or those seeking traditional harmonies. It plunges your instrument into an abyss of low-end rumble and then layers it with sharp, clashing intervals that demand attention. This tuning is perfectly suited for genres like extreme metal, industrial, progressive, or avant-garde music, where tension, sonic textures, and a profound sense of foreboding are desired. When played open, the sound is thick, dense, and unnervingly resonant, creating an atmosphere that is both powerful and unsettling. It's designed to push the boundaries of conventional guitar harmony, favoring intense, often jarring soundscapes.

Technical Analysis: A Cacophony of Contradictions

This tuning sets the Guitar at a profoundly low register, beginning with a B1 on the lowest string. The full open string tuning, from low to high, is B1 F#3 B2 E3 A#4 A3. Let's break down the intervals and implications:

• The bottom three strings (B1-F#3-B2) establish a powerful, albeit widely voiced, B power chord foundation (Root-Fifth-Octave). This provides the 'Drop B' aspect and the implied B minor tonality, even though the minor third (D) is absent in the open strings.
• Adding the E3 on the 3rd string creates a Bsus4 feel on the lower register (B-F#-B-E). This adds a strong subdominant flavor.
• The upper strings introduce significant tension: E3-A#4-A3. Here, the A#4 (enharmonically Bb4) and A3 are a semitone apart, creating an extremely tight and dissonant minor second interval across the highest two strings. This chromatic cluster is the core of the tuning's 'darkened' and experimental nature. The A#4 also forms an augmented 4th (tritone) with E3, further increasing harmonic tension.
• The full open voicing, B1-F#3-B2-E3-A#4-A3, does not conform to a simple major or minor chord. It's a complex, highly extended, and dissonant cluster. While the description mentions 'E5(#11)', the open tuning doesn't purely present this. If E is considered the root, we have B (5th), F# (9th), E (octave root), A# (#11), and A (natural 11th/4th). The presence of both A# and A simultaneously creates strong dissonance, suggesting the 'E5(#11)' might represent a specific harmonic *potential* or effect rather than a literal open chord.

Due to its structure, traditional chord shapes will largely be unusable or will yield unexpected, highly dissonant results. Instead, this tuning encourages:

• Heavy Power Chords: Easily achievable on the lower strings, especially if you bar across the lowest three or four strings (B-F#-B, B-F#-B-E). These provide a massive, low-end foundation.
• Drone & Rhythm: The low B provides an immense foundation for rhythmic riffs and powerful drones. The open strings can ring together to create a dense, resonant texture.
• Dissonant Lead & Harmonies: The tight intervals on the upper strings (E, A#, A) are perfect for creating unsettling lead lines, unique arpeggios, and dense, clashing harmonies. Experiment with two- or three-string voicings that exploit these close intervals for industrial or experimental effects.
• Atmospheric Textures: The inherent dissonance and wide interval spread lend themselves well to creating vast, dark, and atmospheric soundscapes, especially when augmented with effects like reverb and delay.

How to Tune: A Deep Dive Down

This tuning involves significant detuning across all strings from standard E Standard. Given the extreme drops, it's highly recommended to use a heavier gauge of strings, especially for the 6th and 1st strings, to maintain adequate tension and tone and prevent string breakage or intonation issues.

• String 6 (Low E to B1): Tune down 5 semitones. This is a substantial drop. A heavier gauge string is strongly advised for optimal performance and tension.
• String 5 (A to F#3): Tune down 3 semitones.
• String 4 (D to B2): Tune down 3 semitones.
• String 3 (G to E3): Tune down 3 semitones.
• String 2 (B to A#4): Tune down 1 semitone.
• String 1 (High E to A3): Tune down 7 semitones. This is a very significant drop, reducing string tension dramatically. A much heavier gauge string is essential for playability, intonation, and preventing buzzing.

The 'Bad minor' tuning features the following open notes, from the lowest (6th) string to the highest (1st) string:

• String 6: B1
• String 5: F#3
• String 4: B2
• String 3: E3
• String 2: A#4
• String 1: A3