Tuning Analysis: B minor/11/E

As described by its creator, the B minor/11/E tuning offers a highly versatile and deeply resonant sonic landscape. It evokes an otherworldly, rich, and often drone-like quality, lending itself to both major and minor tonalities with ease. The arrangement of notes fosters an astonishing number of chord and arpeggio combinations, creating complex, haunting over- and undertones that reward exploration with endless musical treasures.

Verbal Analysis

This tuning instantly captivates with its profound depth and shimmering sustain. The strategic placement of perfect fifths on the outer strings (E-B and B-F#) provides a powerful harmonic foundation, allowing for rich, open voicings that feel both ancient and modern. The inherent minor quality, particularly centered around B, provides a melancholic yet inspiring canvas. However, the presence of E as the lowest note and F# across various registers also means that brighter, more hopeful textures are readily available. It's a tuning that encourages experimentation, where unexpected harmonies emerge from simple fingerings, creating a sound that can range from ethereal soundscapes to powerful, driving rhythms. The creator's enthusiasm for this tuning is clearly reflected in its sonic potential for dynamic and emotionally charged compositions.

Technical Analysis

The open strings of this tuning are E2, B2, D3, F#4, B3, F#5. This arrangement is built upon the notes E, B, D, and F#, strategically spread across multiple octaves. Let's examine the harmonic implications:

• Root Implications: If we consider B as the root, the open strings effectively present a B minor 11 chord (B, D, F#, E) with the root (B), minor third (D), perfect fifth (F#), and eleventh (E). The E is placed as the lowest note, giving it a B minor 11/E voicing. If E is considered the root, it forms an E minor 9 chord (E, F#, B, D) with the root (E), major ninth (F#), perfect fifth (B), and minor seventh (D). This duality provides immense harmonic flexibility, allowing the player to lean into either B minor or E minor tonalities.
• Interval Structure: The tuning features significant octave displacement, particularly on the 3rd and 1st strings, creating wide and resonant intervals:
  • String 6 (E2) to String 5 (B2): A perfect fifth (7 semitones).
  • String 5 (B2) to String 4 (D3): A minor third (3 semitones).
  • String 4 (D3) to String 3 (F#4): A compound major third (16 semitones, equivalent to a major third plus an octave).
  • String 3 (F#4) to String 2 (B3): A descending perfect fifth (B3 is 7 semitones below F#4).
  • String 2 (B3) to String 1 (F#5): A compound perfect fifth (19 semitones, equivalent to a perfect fifth plus an octave).
• Open Chords & Voicings: The open strings inherently form a rich, resonant Bm11/E or Em9 voicing. The presence of two B notes (B2, B3) and two F# notes (F#4, F#5) across different octaves provides a dense and powerful sound for these specific chord tones, making open chord work particularly satisfying.
• Chord Possibilities: Due to the wide intervals and multiple perfect fifths (E-B, B-F#), power chords on the lower and upper string pairs will sound exceptionally full and sustained. Simple fingerings or partial barres can easily create rich minor, suspended, or dominant 7th (with the 11th/4th) type chords. Barre chords will require re-thinking compared to standard tuning due to the irregular interval pattern, but the underlying harmonic framework of Bm11/Em9 means that many diatonic chords in B minor or E minor will feel very natural and easily accessible. The open D and F# also invite G major/Gsus2/G6 type shapes with minimal effort.

How to Tune

To achieve the 'B minor/11/E' tuning from standard EADGBe tuning, follow these precise string adjustments based on the provided movements:

• String 6 (Low E): Keep as is; no change (0 semitones). This string remains E2.
• String 5 (A): Tune up 2 semitones. This string will become B2.
• String 4 (D): Keep as is; no change (0 semitones). This string remains D3.
• String 3 (G): Tune down 1 semitone. This string will become F#3.
• String 2 (B): Keep as is; no change (0 semitones). This string remains B3.
• String 1 (High e): Tune up 2 semitones. This string will become F#4.

Important Note: While these instructions describe the specific semitone movements from standard tuning as provided, please be aware that achieving the final octave placements for String 3 (F#4) and String 1 (F#5) as listed in the 'Open String Notes' section would typically involve larger semitone adjustments (e.g., octave shifts) than those indicated in the movement instructions. The movement instructions focus on the change in note name. Always make gradual adjustments and be mindful of string tension. These movements do not exceed the typical threshold where a string gauge change would be strongly advised (i.e., more than 4 semitones up or down).

Open String Notes:

• String 6: E2
• String 5: B2
• String 4: D3
• String 3: F#4
• String 2: B3
• String 1: F#5