Tuning Analysis: DAC#EAC#

This distinctive guitar tuning, known as DAC#EAC#, gains its notoriety from its use in Owen (Mike Kinsella)'s track "The Contours". The original context also notes its application with a capo on the 3rd fret, which would transpose the open notes to F A# D G A# D (approximately). This suggests a deliberate choice for specific melodic contours, ringing harmonics, and a unique tonal palette.

Verbal Analysis

The open strings of DAC#EAC# resonate with the notes D2, A2, C#4, E3, A3, C#5. This arrangement immediately conjures a bright, expansive, and major-key feeling. Strumming all open strings together creates a rich, complex harmony. Predominantly, it evokes a D major 9th chord (D-A-C#-E-A-C# with the F# omitted) or can be perceived as an A major triad (A-C#-E) with a foundational D bass note. The doubling of both A and C# across different octaves provides a lush, chiming quality that allows notes to sustain and interweave beautifully.

The tuning is particularly friendly towards A major chord voicings. The strings from 5 through 1 (A2, C#4, E3, A3, C#5) form a clear and full A major chord, making it highly resonant and easily accessible. This structure allows for fluid melodic lines and arpeggios that highlight the major 7th and 9th intervals against the D root. The presence of higher octave C# notes on the 4th and 1st strings (C#4 and C#5) contributes a sparkling, almost bell-like brilliance to the overall sound, pushing the guitar's upper register into a very articulate and bright territory. Players might find that barre chords, particularly on the upper strings, lend themselves well to this tuning, often yielding major sonorities.

Technical Analysis

The open string notes, from the lowest (6th) to the highest (1st), are:

• String 6: D2
• String 5: A2
• String 4: C#4
• String 3: E3
• String 2: A3
• String 1: C#5

When analyzed relative to the lowest D (D2), the intervals are as follows:

• D2 (Root)
• A2 (Perfect 5th)
• C#4 (Major 7th, two octaves above expected C#3)
• E3 (Major 9th/2nd, one octave above expected E2)
• A3 (Perfect 5th, one octave above expected A2)
• C#5 (Major 7th, three octaves above expected C#3)

This specific voicing, particularly the high octaves indicated for the C# and E notes on strings 4, 3, 2, and 1, creates a very wide and resonant harmonic structure. The presence of C#4 on the D string (traditionally D3) and C#5 on the high E string (traditionally E4) gives the tuning a remarkably bright, almost bell-like quality. Compared to standard EADGBe, most strings are tuned down, which generally results in reduced string tension. This can facilitate easier bending and a more pliable feel, making it well-suited for expressive playing styles such as fingerstyle or intricate melodic passages where resonance is key.

How to Tune: DAC#EAC#

To achieve the DAC#EAC# tuning, start from standard EADGBe tuning and follow these instructions for each string:

• String 6 (Low E): Tune down 2 semitones to D2.
• String 5 (A): Keep as is; no change (0 semitones) at A2.
• String 4 (D): Tune down 1 semitone to C#3.
• String 3 (G): Tune down 3 semitones to E3.
• String 2 (B): Tune down 2 semitones to A3.
• String 1 (High E): Tune down 3 semitones to C#4.

Important Note on String Gauge: All string movements in this tuning are within the recommended range of -4 to +4 semitones from standard pitch. Therefore, a specific change in string gauge is generally not required for this tuning. However, always ensure to check your guitar's neck relief after any significant tuning adjustments to maintain optimal playability and intonation.