Tuning Analysis: DADABC#

This unique guitar tuning, named DADABC#, gained recognition from its reported use in Johnny Foreigner's song "Eyes Wide Terrified." It's a fascinating and somewhat unconventional setup that steers away from standard tuning conventions, inviting exploration into new sonic territories with a blend of familiar resonance and striking high-end tension.

Verbal Analysis

At its core, DADABC# is deeply rooted in the key of D, featuring a strong foundation with the low D string and a prominent D-A-D arrangement on the bottom three strings (6th, 5th, 4th). This echoes the power and resonance often found in tunings like Drop D or DADGAD. The open D and A notes provide a rich, resonant drone, ideal for melodic lines or ambient textures. The shift to A on the 3rd string and B on the 2nd string creates an immediate sense of openness and a major second interval (A-B). The most striking feature, however, is the very high C5# on the 1st string. This note, an octave above a typical high C# (C#4) on the guitar, introduces an ethereal, bright, and almost dissonant quality that can cut through a mix or create sparkling, bell-like arpeggios. The overall feel is one of spaciousness, with potential for both lush, extended chord voicings and angular, post-punk inspired riffs, reflective of its reported origin.

Technical Analysis

• Instrument Type: Guitar
• Base Notes: The tuning is built around D (D2, D3) and A (A2, A3), providing a clear tonal center of D.
• Open String Notes: D2 - A2 - D3 - A3 - B3 - C5#.
• Intervalic Structure (from 6th to 1st string):
  • D2 to A2: Perfect 5th (P5)
  • A2 to D3: Perfect 4th (P4)
  • D3 to A3: Perfect 5th (P5)
  • A3 to B3: Major 2nd (M2)
  • B3 to C5#: This is an exceptionally wide interval, spanning 14 semitones. This corresponds to a Major 9th plus an octave, or a compound Major 2nd. This extreme interval is a primary source of the tuning's unique brightness and tension, pushing the boundaries of typical guitar string range.
• Open Chord Potential: When strummed openly, the D-A-D-A-B-C5# configuration forms a striking Dmaj9 chord. Analyzing the notes relative to D: D (Root), A (Perfect 5th), B (Major 9th), C# (Major 7th). The doubled D and A notes provide a full harmonic foundation. The extremely high C5# gives this Dmaj9 a particularly bright, open, and almost bell-like voicing, distinctly different from typical Dmaj9 voicings.
• Chord Shapes and Playability: Due to the open Dmaj9 sound, fingerings utilizing D major scale tones will find natural resonance. The open D-A-D-A strings lend themselves well to droning and power chords. Standard chord shapes will require significant re-imagining due to the non-standard intervals, especially the wide jump between the 2nd and 1st strings. This tuning encourages exploration of open string harmonies and unique melodic patterns on the higher strings, making it suitable for arpeggiated figures and avant-garde textures.
• String Movement Impact: The most significant movement specified in the tuning notes is the target pitch of the 1st string (C5#). While the tuning instructions suggest tuning the high E string down 3 semitones (to C#4), the ultimate target of C5# implies either a string specifically designed for such high tension or a significant octave jump from standard. This requires careful consideration of string gauge to prevent breakage and ensure proper intonation, as maintaining C5# would put extreme stress on a standard light gauge E string.

The open strings for this tuning are:

• 6th String (Low E): D2
• 5th String (A): A2
• 4th String (D): D3
• 3rd String (G): A3
• 2nd String (B): B3
• 1st String (High E): C5#

How to Tune to DADABC#

To achieve this tuning from standard EADGBe, follow these steps:

• 6th String (Low E): Tune down 2 semitones to D2.
• 5th String (A): Keep as is; no change (0 semitones) at A2.
• 4th String (D): Keep as is; no change (0 semitones) at D3.
• 3rd String (G): Tune up 2 semitones to A3.
• 2nd String (B): Keep as is; no change (0 semitones) at B3.
• 1st String (High E): Tune down 3 semitones. This movement from a standard E4 results in C#4. Note: The target note C5# specified in the tuning notes is an octave higher than the C#4 produced by tuning down 3 semitones from E4. Achieving C5# would require tuning the high E string up an entire octave (12 semitones, to E5) and then tuning it down 3 semitones from E5, resulting in C#5. This significant change to C5# (a total of +9 semitones from standard E4) would likely require a much lighter gauge string to prevent breakage and achieve proper intonation. Proceed with extreme caution and consider the C#4 (an octave lower) as a safer alternative if string modification or such high tension is not desired.

String Gauge Advisory:

Significant string tension changes can occur with this tuning. While the 6th string is tuned down 2 semitones and the 3rd string up 2 semitones (movements generally within a safe range), the potential for tuning the 1st string to C5# is exceptionally extreme. If you intend to reach C5#, this represents a total upward movement of 9 semitones from standard E4 (or tuning down 3 semitones from an E5, which itself is an octave above E4). Movements exceeding 4 semitones up or down, especially those approaching an octave or more, almost always necessitate a different, often lighter, string gauge to ensure string integrity, prevent breakage, and maintain optimal playability and intonation. Exercise caution and consider professional guidance for such extreme tunings.