The "D A D# G# D# D" tuning, famously used by brakence in his track "5g", is a highly experimental and distinctive alteration of standard guitar tuning. It creates a rich, often dissonant, soundscape, perfect for intricate textural work and unconventional chord voicings.

Technical Analysis:

• This tuning is characterized by its wide intervallic stretches and the deliberate use of dissonances. The fundamental notes are D2, A2, D#4, G#4, D#5, and D4, from lowest to highest string.
• The tuning features a strong D root, with both the 6th (low D2) and 1st (high D4) strings tuned to D, providing a powerful octave drone capability.
• The interval from the 6th to 5th string (D2 to A2) forms a perfect fifth, making open low D power chords readily available.
• A significant characteristic is the presence of D# notes on the 4th (D#4) and 2nd (D#5) strings, creating another octave pairing.
• The most striking feature is the highly unusual relationship between the top two strings: D#5 (2nd string) and D4 (1st string). The highest string is tuned a minor second and an octave below the second highest string. This creates a very tight, almost clashing minor second interval when considering their pitch classes (D# and D), but spread over a wide register, allowing for unique harmonic textures.
• The open strings do not form a traditional major or minor chord, instead presenting a complex, often dissonant, cluster of D-A-D#-G#-D#-D. This encourages a departure from standard chord shapes and fosters exploration of open string voicings and partial chords.

Chords and Playability:

• While traditional chord shapes are largely unplayable in this tuning, it excels in creating unique sonic landscapes.
• The low D and A strings provide a solid foundation for deep, resonant power chords.
• Open strings can be strummed for a full, rich, yet distinctly dissonant, drone, characteristic of modern progressive and experimental music.
• The repeated D and D# notes across different octaves (D2/D4 and D#4/D#5) offer opportunities for powerful octave riffs and intricate arpeggios that highlight the semi-tone clash.
• This tuning is ideal for fingerstyle playing, allowing the guitarist to emphasize specific intervals and create suspended, ambiguous, or highly dramatic harmonies. Exploring slides and hammer-ons/pull-offs on adjacent strings will reveal interesting microtonal-like effects due to the close intervals.
• Experiment with open string harmonics, especially on the D and D# notes, to uncover ethereal textures.

Tuning Notes:

Here are the target notes for each string, from the thickest (6th) to the thinnest (1st):

• 6th String: D2
• 5th String: A2
• 4th String: D#4
• 3rd String: G#4
• 2nd String: D#5
• 1st String: D4

How to Tune (from Standard EADGBe):

Carefully adjust each string according to the instructions below. For movements exceeding 4 semitones up or down, such as tuning up 4 semitones for the 2nd string, consider using a different gauge string for optimal playability and to prevent string breakage or damage to your instrument.

• 6th String (Low E): Tune down 2 semitones to D2.
• 5th String (A): Keep as is; no change (0 semitones) to A2.
• 4th String (D): Tune up 1 semitone to D#4.
• 3rd String (G): Tune up 1 semitone to G#4.
• 2nd String (B): Tune up 4 semitones to D#5.
• 1st String (High e): Tune down 2 semitones to D4.