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Page 152
The same principle can be applied to minor tunings. Here's a standard E minor:

String 6 5 4 3 2 1

Note E B E G B E

Inc/Dcr - +2 +2 - - -

Part of triad r 5th r 3rd 5th r

Here's a variant with a deeper sound and less tension on the neck:

String 6 5 4 3 2 1

Note E G B E B E

Inc/Dcr - -2 -3 -3 - -

Part of triad r 3rd 5th r 5th r

You can build more unusual tunings around one of the open strings of standard tuning. Let's use D: D is the root of
D and Dm, the third of Bb and Bm, and the fifth of G and Gm. So we could construct a tuning for any of these in
which that string would not change. In Bb, that would work like this:

String 6 5 4 3 2 1

Note D Bb D F Bb D

Inc/Dcr -2 +1 - -2 -1 -2

Part of triad 3rd r 3rd 5th r 3rd

Or how about B minor? That would be:

String 6 5 4 3 2 1

Note D B D F# B D

Inc/Dcr -2 +2 - -1 - -2

Part of triad 3rd r 3rd 5th r 3rd

With altered tunings the only limit is your musical imagination and your patience at working out the potential of a
tuning. But don't forget to put the song first, otherwise you will move into composing instrumentals.