Tuning Analysis: 1 1/2 Steps Down and Drop B

This unique tuning for a standard 6-string guitar offers a deeply resonant and expansive sonic palette, characterized by its very low bass register and rich harmonic possibilities. While its name suggests a uniform lowering, the tuning strategically drops different strings by varying amounts, creating a distinctive sound profile.

Verbal Analysis:

"1 1/2 Steps Down and Drop B" is a tuning that immediately evokes a powerful, heavy, and often dark sound, commonly favored in genres like metalcore, djent, and progressive metal where a deep, chugging low end is crucial. The dramatic drop of the 6th string to B provides an authoritative foundation for heavy riffs and downtuned power chords. Beyond its aggressive potential, the specific intervals of the higher strings (G#3, A#4, D#5) create a surprisingly open and ethereal quality when strummed together, hinting at jazz fusion or experimental soundscapes. This duality makes it versatile, capable of both brutal aggression and intricate, spacious harmonies. Its non-standard interval structure encourages creative chord voicings and melodic approaches, moving away from traditional CAGED system shapes.

Technical Analysis:

Compared to standard EADGBe tuning, this tuning (B1 G#3 B2 E3 A#4 D#5) features a significantly lowered bass string and a mix of minor second and minor third drops across the other strings.

The open notes, from low to high, are: B1, G#3, B2, E3, A#4, D#5.

Analyzing the intervals relative to the lowest B (B1):

• 6th String (B1): Root
• 4th String (B2): Octave above the 6th string.
• 3rd String (E3): Perfect 4th above the 6th string.
• 5th String (G#3): Major 6th above the 6th string.
• 2nd String (A#4): Major 7th above the 6th string.
• 1st String (D#5): Compound Major 3rd (Major 10th) above the 6th string.

The open strings collectively present the notes B, D#, E, G#, A#. These notes imply a rich, extended B harmony, specifically a B Major 7th chord (B, D#, A#) with the addition of a Perfect 4th (E, functioning as a #11) and a Major 6th (G#, functioning as a 13th). This makes the open tuning sound like a Bmaj13(#11), offering a complex, somewhat dissonant, yet melodically interesting chord.

Open Chords & Harmonies:

• Open Strum: As discussed, strumming all open strings yields a Bmaj13(#11) harmony, providing a full, resonant, and somewhat jazzy or progressive sound, despite the "drop B" foundation often associated with heavy music.
• Power Chords: The low B on the 6th string allows for powerful, single-finger root-fifth-octave power chords on the 6th, 5th, and 4th strings (e.g., fretting all three at the same fret will produce a B power chord (B-F#-B) if the 5th string were F#, but here we have B-G#-B, which is a Bmaj6 power chord, or a B power chord with an added G#). For a standard B power chord on the lower strings, one could fret the 6th string at B, and then the 5th string at F# (7th fret from G#) and 4th string at B (octave). However, the specific interval between the 6th (B) and 4th (B) strings being an octave, and the 5th string (G#) being a major 6th, opens up interesting harmonic possibilities with minimal effort. For instance, playing the 6th and 4th strings open (B and B) and fretting the 5th string at the 2nd fret (A#) creates a B major 7th interval.
• Melodic Potential: The open strings offer a unique set of drone notes for melodic exploration, especially around the key of B Major or related modes. The presence of both B and E (P4) allows for easy sus4 voicings.

How to Tune:

Starting from standard EADGBe tuning:

• String 6 (Low E): Tune down 5 semitones to B1.
• String 5 (A): Tune down 1 semitone to G#3.
• String 4 (D): Tune down 3 semitones to B2.
• String 3 (G): Tune down 3 semitones to E3.
• String 2 (B): Tune down 1 semitone to A#4.
• String 1 (High E): Tune down 1 semitone to D#5.

Important Considerations:

• String Gauge: Tuning the 6th string down by 5 semitones is a significant drop. For optimal tone, intonation, and string tension, it is highly recommended to use a heavier gauge string for your low B string. Tuning down 5 semitones on a standard gauge E string can result in a very floppy string. For other strings, movements of 3 or 1 semitones are generally manageable with standard gauges, but note that 3 semitones is still a noticeable change.
• Intonation: Due to the drastic changes in tension, especially on the 6th string, you may need to check and adjust your guitar's intonation to ensure notes play in tune up the fretboard.

String 6 (Low E Equivalent): B1

String 5 (A Equivalent): G#3

String 4 (D Equivalent): B2

String 3 (G Equivalent): E3

String 2 (B Equivalent): A#4

String 1 (High E Equivalent): D#5