Tuning Name: B Minor Ascendant (Cosmetic)

This unique Guitar tuning, originally named "Cosmetic" and utilized by the Italian emo band, presents a compelling sonic landscape. We've aptly named it "B Minor Ascendant" due to its prominent B minor voicing and upward melodic tension, creating a sound that is both grounded and yearning.

Verbal Analysis:

The "B Minor Ascendant" tuning creates a melancholic yet intriguing sonic palette. The core of a B minor chord resonates clearly on the middle strings, providing a solid harmonic foundation. However, the higher strings introduce sharp, almost dissonant tension, pushing the listener's ear upwards and adding a distinct character often associated with emo or alternative rock genres. It's a tuning that feels both grounded and yearning, offering opportunities for open, droning chords with complex overtones, as well as lead lines that can effortlessly weave through the inherent minor tonality with unexpected brightness.

Technical Analysis:

The open notes for this tuning are: E2 B2 D3 F#4 C#5 D#5.

• String 6 (E2): The lowest string remains in standard E, providing a familiar anchor and a deep root.
• String 5 (B2): A perfect fifth above E2, this string forms the root of the prominent B minor chord.
• String 4 (D3): A minor third above B2, this note completes the B minor dyad.
• String 3 (F#4): A major tenth (compound major third) above D3 and a perfect fifth above B2. When played with B2 and D3, these three strings (B2-D3-F#4) form a clear B minor triad. The octave jump between D3 and F#4 (from D3 to F#3 would be a Major 3rd, but F#4 is an octave higher) creates a wide, open voicing.
• String 2 (C#5): A perfect fifth above F#4. This note is the major 7th of D, and the major 9th of B, adding a vibrant extension to the underlying harmony.
• String 1 (D#5): A major second above C#5. This note introduces significant tension – it's an augmented root relative to D3, a minor third relative to B2 (creating a Baug or Bm/M9 clash), and an augmented second relative to C#5. This high D# creates a distinctly sharp and "ascendant" quality.

The most immediate open chord available is a strong B minor triad on strings 5, 4, and 3 (B2-D3-F#4). When combined with the low E string, it suggests an E minor 9th (without the G) or a B minor chord over an E root. The distinct intervals between strings mean that standard chord shapes will be recontextualized or unusable, but this invites exploration of unique voicings, open, ringing arpeggios, and melodic lines that highlight the inherent tension and release. This tuning is excellent for creating intricate arpeggiated figures and emotional soundscapes where the clash of the D#5 against the B minor core can be effectively exploited.

How to Tune:

To achieve the "B Minor Ascendant" tuning from standard E Standard (E A D G B E), follow these steps:

• String 6 (Low E): Tune to E2. Keep as is; no change (0 semitones) from standard E.
• String 5 (A String): Tune to B2. Tune up 2 semitones from standard A. While a 2-semitone increase is generally safe for most string gauges, always tune slowly and carefully to avoid string breakage.
• String 4 (D String): Tune to D3. Keep as is; no change (0 semitones) from standard D.
• String 3 (G String): Tune to F#4. Tune down 1 semitone from standard G.
• String 2 (B String): Tune to C#5. Tune up 2 semitones from standard B. As with string 5, proceed with caution and tune gradually.
• String 1 (High E): Tune to D#5. Tune down 1 semitone from standard E.

Note: For string movements exceeding 4 semitones up or down, considering a different string gauge is advisable. In this tuning, all adjustments are within a moderate range (-1 to +2 semitones), making it generally compatible with standard string sets, though care should always be taken when tuning up.

String 6 (Low E): Tuned to E2. This remains at its standard E pitch.

String 5 (A String): Tuned to B2. This is 2 semitones (a whole step) higher than its standard A pitch.

String 4 (D String): Tuned to D3. This remains at its standard D pitch.

String 3 (G String): Tuned to F#4. This is 1 semitone (a half step) lower than its standard G pitch.

String 2 (B String): Tuned to C#5. This is 2 semitones (a whole step) higher than its standard B pitch.

String 1 (High E): Tuned to D#5. This is 1 semitone (a half step) lower than its standard E pitch.