Tuning Analysis: Kent Nishimura's Thriller Badd9

This unique and intricate tuning, famously utilized by Kent Nishimura for his acoustic fingerstyle cover of Michael Jackson's "Thriller," is a truly innovative approach to the guitar. It transforms the instrument into a rich, resonant soundscape, primarily centered around a B Major Add9 chord. The re-entrant nature of the tuning, where the second string is tuned lower than the third, creates a distinctive harmonic texture ideal for complex arpeggios and melodic lines, perfectly suited for the nuanced arrangements in fingerstyle playing.

Technical Observations

• Key Chord: The open strings (B1, F#3, C#4, F#4, B3, D#5) form a powerful B Major Add9 chord. The notes present are B (root, octaves 1 & 3), D# (major third, octave 5), F# (perfect fifth, octaves 3 & 4), and C# (added ninth, octave 4). This extensive voicing across multiple octaves makes the tuning inherently melodic and harmonious in the key of B Major, providing a lush foundation for improvisation and composition.
• Re-entrant Structure: A defining characteristic of this tuning is its re-entrant structure. Specifically, the second string (B3) is pitched significantly lower than the third string (F#4). This unconventional arrangement allows for distinctive chord voicings, unexpected melodic pathways, and the ability to play bass notes on higher-numbered strings, creating a mandolin-like or harp-like effect that adds depth and complexity to the sound.
• Open Voicings:
  • Strumming all open strings yields a full, resonant Bmaj(add9) chord, making it an excellent base for drone-based compositions or open-string melodic work.
  • The presence of B and F# on multiple strings (B1, F#3, F#4, B3) provides a strong B Power Chord foundation, enhancing the rhythmic drive.
  • The intervals between strings 5, 4, and 3 (F#3 - C#4 - F#4) are a Perfect 5th and Perfect 4th respectively, creating a harmonically rich core for intricate melody and accompaniment.
• Chord Potential:
  • Given the strong Bmaj(add9) open sound, chords related to B Major, such as E Major (IV), F# Major (V), C# minor (ii), and G# minor (vi), will likely be very accessible and sound particularly lush with the added resonance of the open strings.
  • The unique string intervals and re-entrancy suggest that standard chord shapes will need significant adjustment, encouraging exploration of new fingerings and shapes. Fingerstyle players will find this tuning offers fresh harmonic possibilities and open drones for melodic embellishments, ideal for adapting complex orchestral or keyboard pieces to the guitar.

How to Tune (from Standard EADGBe)

Exercise caution when tuning, especially with larger semitone movements. If tuning up or down by 4 or more semitones, consider using a different gauge string to prevent damage to your instrument or ensure proper string tension and intonation.

• String 6 (Low E to B1): Tune down 5 semitones. This is a significant drop. Consider a heavier gauge string if this is a permanent tuning to maintain proper tension and tone.
• String 5 (A to F#3): Tune down 3 semitones.
• String 4 (D to C#4): Tune down 1 semitones.
• String 3 (G to F#4): Tune down 1 semitones.
• String 2 (B to B3): Keep as is; no change (0 semitones).
• String 1 (High E to D#5): Tune down 1 semitones.

The target notes for this tuning are as follows:

String 6: B1

String 5: F#3

String 4: C#4

String 3: F#4

String 2: B3

String 1: D#5