About the Tuning

The tuning aptly named "Dissonant D Tuning" is an intriguing arrangement for the guitar, specifically described as sounding nice with some folk picking. This suggests a character that, while not immediately conforming to standard harmonic progressions, offers rich textural and melodic possibilities. It embraces unique intervals and string voicings to create a distinctive soundscape.

Technical Analysis

The open strings are tuned to D1-A1-C3#-D2-G2-D3 (low to high). This tuning is rooted firmly in D, with the 6th, 3rd, and 1st strings all sounding D at different octaves, creating a strong drone. Let's look at the intervals between adjacent strings:

• String 6 (D1) to String 5 (A1): A perfect fifth up (7 semitones). This creates a powerful, resonant foundation.
• String 5 (A1) to String 4 (C3#): An octave and a major third up (16 semitones). This is a significant jump in pitch, adding brightness and harmonic density to the tuning.
• String 4 (C3#) to String 3 (D2): A major seventh down (11 semitones down). This creates a striking and open, yet tense, interval. This specific spacing largely contributes to the "Dissonant" aspect of the tuning, providing an unusual harmonic landscape.
• String 3 (D2) to String 2 (G2): A perfect fourth up (5 semitones). A common and harmonically stable interval, offering a familiar anchor.
• String 2 (G2) to String 1 (D3): A perfect fifth up (7 semitones). Another strong and resonant interval, echoing the low D-A relationship.

The overall harmonic content of the open strings D-A-C#-D-G-D includes the root (D), perfect fifth (A), major seventh (C#), and perfect fourth (G). This combination can be interpreted as a Dsus4(maj7) chord or a Gmaj7#11/D, indicating a sophisticated and somewhat open, floating sound. The presence of the major seventh (C#) against the root (D) and the perfect fourth (G), combined with the unusual string spacing, provides the described "dissonant" quality, yet within a pleasing context for folk picking where these intervals can add color rather than harshness.

Chords & Playability

The open tuning itself forms a unique, complex voicing, inviting arpeggiated figures and fingerstyle approaches. While not a conventional major or minor chord, the open strings provide a rich harmonic canvas:

• Open D Drone: The numerous D notes (D1, D2, D3) create a powerful, sustained D drone, ideal for driving rhythms or contemplative folk melodies.
• D Major 7th flavor: By focusing on the D, A, and C# notes, one can readily evoke a Dmaj7 arpeggio, offering a bright, somewhat jazzy or sophisticated feel.
• Dsus4 possibilities: The D, G, and A notes readily form a Dsus4 chord, which is characteristic of many folk and acoustic genres, providing a sense of unresolved beauty.
• Unique Voicings: The irregular intervals, particularly the C# and G against the D, open up possibilities for creating fresh chord voicings with minimal fretting. Simple one or two-finger shapes are likely to yield interesting harmonic clusters that would be challenging in standard tuning.

The irregular intervals also encourage exploration beyond standard chord shapes, pushing players to discover new melodic and harmonic paths suitable for the "folk picking" style mentioned in the tuning's description. Experimentation with open string drones and moving bass lines will be particularly rewarding.

How to Tune

To achieve the Dissonant D Tuning, adjust each string from its current pitch as described below, working from the thickest string (6) to the thinnest (1).

• String 6 (Low E String): Tune up 1 semitone to reach D1.
• String 5 (A String): Tune up 3 semitones to reach A1.
• String 4 (D String): Tune up 2 semitones to reach C3#.
• String 3 (G String): Tune down 2 semitones to reach D2.
• String 2 (B String): Tune down 2 semitones to reach G2.
• String 1 (High E String): Keep as is; no change (0 semitones) to remain at D3.

String 6: D1 (Low D)

String 5: A1

String 4: C3# (C sharp)

String 3: D2

String 2: G2

String 1: D3 (High D)