This is the unique "Gary Nock" tuning for guitar, named for its extensive use by the artist. As described in its original context, it can be thought of as a variation on CGCFCE, although technically the notes provided (D-A-D-G-D-F#) are precisely two semitones (a whole step) higher than CGCFCE across all strings, rather than one semitone.

Verbal Analysis

The Gary Nock tuning offers a rich, resonant, and open soundscape. With three 'D' notes across the 6th, 4th, and 2nd strings, it provides a strong root and a drone-like quality. The open A (5th string) and G (3rd string) add harmonic depth, creating a complex, D-centric chord when strummed open. The highest string, tuned to F#, introduces a bright, major third interval that lifts the overall tonality. This tuning lends itself well to percussive fingerstyle and melodic playing, allowing for full, ringing chords and sustained bass notes.

Technical Analysis

The open strings are tuned to D2 A2 D3 G3 D4 F#5.

• The tuning is heavily based around the key of D, featuring D as the root on multiple octaves (D2, D3, D4).
• The intervals from low to high are: Perfect 5th (D2-A2), Perfect 4th (A2-D3), Perfect 4th (D3-G3), Perfect 5th (G3-D4), and a very wide Major 10th (D4-F#5). This last interval (D4 to F#5) is particularly wide and provides a unique sonic character due to the high octave of the F#.
• Open Chord: Strumming all open strings yields a Dsus4addM3 chord (D-G-A-F#), often perceived as a D Major 11th (without the 7th or 9th). This creates an immediate, full, and slightly dissonant yet pleasing D-based harmony.
• Chord Possibilities: The open D and A strings make D and A chords easily accessible. The structure promotes easy barre chords with a strong D root. For example, a single finger on the 3rd string at the 2nd fret (B) would give D-A-D-B-D-F#, which is a D Major 6th chord. Barring across a single fret on all strings can easily produce various major, minor, or suspended chords with a clear root provided by the lower D strings.

How to Tune

To achieve the Gary Nock tuning from standard EADGBe, follow these steps. Please note that significant tuning changes, especially upward, may require careful attention to string tension and potentially a different string gauge if tuning outside of a 4-semitone range (up or down).

• 6th String (Low E): Tune down 2 semitones from E2 to D2. (Movement: -2 semitones)
• 5th String (A): Keep as is; no change from A2. (Movement: 0 semitones)
• 4th String (D): Keep as is; no change from D3. (Movement: 0 semitones)
• 3rd String (G): Keep as is; no change from G3. (Movement: 0 semitones)
• 2nd String (B): Tune up 3 semitones from B3 to D4. (Movement: +3 semitones). (Note: Tuning up 3 semitones is a moderate change; proceed with care.)
• 1st String (High E): Tune up 2 semitones from E4 to F#4. (Movement: +2 semitones). (Please note a significant discrepancy: while the instruction is to tune up 2 semitones, the target note listed for this string in the tuning details is F5#. Tuning to F#5 from E4 would require a 14-semitone increase, which is highly unusual and would necessitate a much lighter gauge string to avoid breakage. The 'tune up 2 semitones' instruction from standard E4 leads to F#4. Please ensure you are aiming for the correct octave for your strings' safety, and if F#5 is truly desired, consult a luthier and consider a very light string gauge.)

• 6th String: D2
• 5th String: A2
• 4th String: D3
• 3rd String: G3
• 2nd String: D4
• 1st String: F5#