The D-Drop F-Sharp Ascent tuning, reportedly featured in Sun Kil Moon's 'Last Tide', presents a fascinating blend of conventional drop tuning and an extreme high register. It maintains the familiar intervals of standard tuning across its middle strings while significantly altering the lowest and highest strings.

Verbal Analysis

This tuning evokes a sense of deep grounding combined with soaring brightness. The low D string provides the characteristic gravitas and thunderous bass of a Drop D tuning, perfectly suited for heavy riffs, open D power chords, and a rich, resonant foundation. The middle four strings (A, D, G, B) remain at their standard pitches, offering a comforting familiarity for a wide array of chord shapes and scales in that range. However, the true sonic signature of this tuning comes from the incredibly high F# on the first string. This note is exceptionally bright and piercing, creating a unique shimmer or, depending on context, a striking dissonance. It suggests a tuning designed for specific melodic lines, arpeggiated figures, or a sustained, high drone, rather than broad, open strumming. The combination of a low D and a high F# opens up possibilities for expansive voicings and striking textural contrasts, perfect for introspective, atmospheric, or even avant-garde compositions. It allows for a vast harmonic range, spanning over three octaves from the lowest D to the highest F#.

Technical Analysis

The open tuning notes are D2-A2-D3-G3-B3-F#5.

• String 6 (Low E String): Tuned down a full step (2 semitones) from E2 to D2. This creates a low, resonant bass and enables an easily accessible D5 power chord using the open 6th, 5th, and 4th strings (D-A-D).
• Strings 5, 4, 3, 2 (A String, D String, G String, B String): These strings remain at their standard pitches (A2, D3, G3, B3). This preserves a large portion of standard guitar chord voicings and melodic patterns, making the transition less drastic for mid-range playing and allowing for familiar chord shapes like A minor, D major, G major, and C major (with altered bass notes if needed).
• String 1 (High E String): This is the most distinctive and potentially challenging aspect of the tuning. The target note is F#5. While the 'How to Tune' section indicates a movement of +2 semitones from standard E4 (resulting in F#4), the specified target of F#5 implies an additional octave higher, amounting to a total of 14 semitones up from standard E4. This extreme pitch creates an exceptionally high and bright top end. The open strings (D-A-D-G-B-F#) do not form a simple conventional chord but offer a rich harmonic palette. The lowest three strings (D-A-D) form a clear D5 power chord. When all open strings are considered, the notes D, A, G, B, F# contain elements of a D major harmony (D, F#, A) alongside the perfect fourth (G) and major sixth (B). This suggests possibilities for complex D-based voicings such as Dsus4, D6, or even a Dmaj7#5 (implied by G-B-F# over the low D).

Chords that are easily accessible or enhanced by this tuning:

• Open D Power Chord: Strings 6, 5, 4 (D2-A2-D3) effortlessly form a powerful D5 chord (0-0-0).
• Open Dsus4: By playing strings 6, 5, 4, 3 open (D-A-D-G), you get a strong Dsus4 voicing.
• Extended D Harmonies: By fretting around the middle strings, many D major, D minor, Dsus chords can be easily adapted, leveraging the open D strings and the high F#.
• Familiar chords in the middle register: Standard shapes for chords like A minor, C major, G major, and E minor can be played on strings 2 through 5, though the overall tonal context will be altered by the low D and high F#.
• Unique Drones and Arpeggios: The wide interval between the low D and high F# is ideal for creating expansive arpeggios, melodic leads, and rich, sustained drones.

Open Tuning Notes

• String 6 (Low E String): D2
• String 5 (A String): A2
• String 4 (D String): D3
• String 3 (G String): G3
• String 2 (B String): B3
• String 1 (High E String): F#5

How to Tune

To achieve the D-Drop F-Sharp Ascent tuning, please follow these instructions carefully. Remember that significant tuning changes can affect string tension and intonation. Always use a reliable tuner.

• String 6 (Low E): Tune down 2 semitones from its standard E2 pitch to D2. This is a moderate drop in tension.
• String 5 (A): Keep as is; no change (0 semitones) from its standard A2 pitch.
• String 4 (D): Keep as is; no change (0 semitones) from its standard D3 pitch.
• String 3 (G): Keep as is; no change (0 semitones) from its standard G3 pitch.
• String 2 (B): Keep as is; no change (0 semitones) from its standard B3 pitch.
• String 1 (High E): Tune up 2 semitones from its standard E4 pitch to F#4. Important Safety Note: The target note for this string is listed as F#5. Tuning E4 up 2 semitones results in F#4. Achieving F#5 would require tuning E4 up a total of 14 semitones (F#4 + 12 semitones for an octave higher). Tuning more than 4 semitones up or down significantly increases string tension and stress on your instrument, often requiring a different string gauge to prevent string breakage, potential neck damage, or intonation issues. If your intention is truly F#5, a much lighter gauge string (e.g., a .007 or .008) is strongly advised, and extreme caution must be exercised due to the very high tension involved. Without such modifications, attempting to reach F#5 from E4 by merely tuning up 2 semitones as indicated by the movement data is physically impossible and dangerous.