Verbal Analysis:

This unique tuning, which we've named The Descending A Minor, plunges your guitar into a deep, resonant soundscape. It offers a melancholic yet surprisingly versatile foundation, reminiscent of atmospheric pieces or dark folk. The overall drop in pitch compared to standard tuning provides a slacker string feel and a darker, richer timbre, making it ideal for genres that benefit from a heavy, warm low end, such as blues, downtuned rock, or experimental music. It actively encourages the use of open string drones and facilitates unique chord voicings that are difficult to achieve in standard tuning, inviting players to explore new harmonic territories.

Technical Analysis:

This tuning sets your guitar's open strings to A-G-C-F-G-C, from lowest to highest. While conceptually described as being derived from a BADGAD tuning dropped by a whole step (two semitones), the practical 'How to Tune' instructions are given from a standard EADGBe reference. The resulting `A-G-C-F-G-C` configuration is a rich and complex voicing. Analyzed from the lowest A string, the intervals are: a minor 7th (G), a minor 3rd (C), a perfect 4th from C (F), a major 2nd from F (G), and a perfect 4th from G (C). Essentially, the open strings form an Am7(add F) chord, or an Fsus2/A, providing an immediate sense of mood and depth.

Open Chords and Accessibility:

• Strumming all open strings yields a full, rich Am7(add F) or Fsus2/A voicing, providing an immediate sense of mood and depth. This is a powerful, ready-to-play chord.
• The combination of the 6th (A), 4th (C), and 3rd (F) strings forms a clear A minor triad. Adding the 2nd string (G) completes an Am7, making it easy to construct these foundational chords with open strings.
• Barring across any fret will instantly give you a transposed version of this rich open string voicing, making it easy to move complex suspended minor chords up and down the neck with a single finger.
• The low A string provides a powerful root for robust power chords. For instance, playing the 6th (A), 5th (G), and 4th (C) strings open creates a deep Am7 sound, while a traditional power chord shape on the lowest strings will retain its heavy feel.
• The closely voiced C-F-G-C on the 4th through 1st strings presents opportunities for unique inversions and easy access to Fmaj7sus2 or Cadd4 voicings, adding harmonic color.
• Familiar chord shapes for Am, C, F, and G will need adaptation but can be significantly enhanced by incorporating the resonant open strings, leading to fuller and more unique sonorities.

String Movement Implications:

This tuning involves significant detuning, particularly on the 6th string which drops by a substantial 7 semitones. Such a large drop will result in significantly reduced string tension. For optimal playability, intonation, and to prevent excessive string buzz, we advise considering a heavier gauge string set for the 6th string, where the drop exceeds 4 semitones.

Tuning Notes (from lowest to highest string):

• 6th String: A1
• 5th String: G2
• 4th String: C3
• 3rd String: F3
• 2nd String: G3
• 1st String: C4

How to Tune (from Standard EADGBe Tuning):

Please tune with care, especially when dropping strings significantly. As a general guideline, tuning up or down 3 or 4 semitones requires caution. When string movements exceed negative 4 semitones (e.g., -5, -6, -7) or are positive 4 semitones or above (e.g., +4, +5, +6), a different gauge string is advised for optimal tension and intonation.

• 6th String (Low E): Tune down 7 semitones to A1. (Movement: -7 semitones; a heavier gauge string is advised for optimal performance due to the significant drop.)
• 5th String (A): Tune down 2 semitones to G2.
• 4th String (D): Tune down 2 semitones to C3.
• 3rd String (G): Tune down 2 semitones to F3.
• 2nd String (B): Tune down 4 semitones to G3.
• 1st String (High E): Tune down 4 semitones to C4.