Tuning Overview: Drop D Minor 6th

The Drop D Minor 6th tuning is an intriguing variation built upon the popular Drop D foundation. As its name suggests, it takes the familiar low D string of Drop D and introduces a harmonic twist by altering the second string. This tuning is designed to evoke a minor tonality and offers unique sonic possibilities not typically found in standard tunings or even conventional Drop D.

Verbal Analysis

At its core, this tuning begins with the low E string dropped down a whole step to D, creating the powerful open D5 chord (D-A-D) that is a hallmark of Drop D tuning. This allows for heavy, resonant low-end riffs and easy power chords across the bottom three strings. The other strings (A, D, G, and high E) largely retain their standard intervals relative to each other, but the crucial change comes with the second string. Originally a B (in standard tuning), it is lowered by a semitone. The intent, as described, is to shift towards a D minor tonality.

However, there's an interesting aspect in the specific target note provided. While a semitone drop from a standard B3 would typically result in A#3 (or Bb3), the tuning notes explicitly specify A4#. If interpreted literally as A# in the 4th octave, this creates a very high and bright voice on the second string. If we consider the more common musical interpretation that the 'minor 6th' in the name and the description's 'lowered a semitone to play in D minor' refers to B3 shifting to A#3/Bb3, the open strings D-A-D-G-A#-E (or D-A-D-G-Bb-E) offer a blend of open D power, a perfect fourth (D-G), and the characteristic minor 6th/augmented 5th (D-A#/Bb) interval. This interval adds a distinct tension and a bluesy or exotic flavor, making it suitable for genres that utilize altered harmonies or modal playing.

Technical Analysis

The open string notes for this tuning are: D2-A2-D3-G3-A4#-E4.

• The lowest three strings (D2, A2, D3) form a powerful D5 chord, identical to regular Drop D. This provides a strong fundamental for riffs and rhythm playing.
• The fourth string (G3) creates a perfect fourth interval with the D3 string, allowing for Dsus4 voicings or open G chords with interesting bass notes.
• The second string (A4#) is the most unique element. If taken literally as A#4, it's an octave higher than the expected A#3 (Bb3) from a simple semitone drop from B3. This high A# could be used to create very bright, piercing melodic lines or unusual harmonic clusters. If we consider the 'minor 6th' implication (A# enharmonically Bb), the interval from the open D root is an augmented 5th (D to A#) or a minor 6th (D to Bb). This interval is crucial for developing a minor or bluesy tonality, particularly when playing scales or arpeggios that incorporate the b6 or #5.
• The highest string (E4) maintains its standard pitch, providing familiar melodic territory and access to major 9th voicings over the open D.

Open Chords & Shapes

While not all open strings will form a conventional chord, this tuning facilitates several voicings and leads to interesting shapes:

• D5 Power Chord: By strumming only the lowest three strings (D2-A2-D3), you instantly get a powerful D5 chord, perfect for heavy rock and metal.
• Dsus4 / Dsus2 Shapes: Using the D-A-D-G strings provides a Dsus4 feel. By fretting the G string, you can create various suspended or major/minor voicings.
• Minor/Bluesy Voicings: The A# (Bb) on the second string is key. Experiment with chords that incorporate this note to lean into a D minor or D blues scale feel. For example, a Dm(add Bb) or Daug (D-F#-A#) can be implied by careful fingering.
• Exploiting the High A#4: If the A4# is indeed the intended pitch, try using it as a high drone or a striking melodic note against the lower D minor harmony. This could create a unique, almost Middle-Eastern or avant-garde sound.

How to Tune

To achieve the Drop D Minor 6th tuning from standard E-A-D-G-B-E (E2-A2-D3-G3-B3-E4), follow these steps:

• 6th String (Low E): Tune down 2 semitones from its standard E2 pitch to D2.
• 5th String (A): Keep at its standard A2 pitch; no change (0 semitones).
• 4th String (D): Keep at its standard D3 pitch; no change (0 semitones).
• 3rd String (G): Keep at its standard G3 pitch; no change (0 semitones).
• 2nd String (B): Tune down 1 semitone from its standard B3 pitch, resulting in A4# (as specified in the tuning notes).
• 1st String (High E): Keep at its standard E4 pitch; no change (0 semitones).

Important Note on String Gauge: When tuning strings significantly (more than 4 semitones up or down), it is generally advisable to consider using a different string gauge to maintain proper string tension and avoid potential damage to your guitar or strings. For this tuning, the maximum change is 2 semitones down, which is generally safe for standard gauge strings.

String 6: D2
String 5: A2
String 4: D3
String 3: G3
String 2: A4#
String 1: E4