The DAEGAC tuning is a distinctive and inventive open tuning, described by its creator as a product of exploring new harmonic territories. It deviates significantly from conventional open tunings, offering a rich, complex, and thought-provoking sonic landscape when strummed openly. This tuning is ideal for guitarists seeking to break away from traditional voicings and delve into more contemporary, ambient, or experimental musical expressions. Its unique structure facilitates both ringing drones and intricate melodic possibilities, making it a versatile choice for creative exploration.

Technical Analysis:

• Open Notes: The tuning from low to high is D2, A2, E3, G3, A3, C4.
• Interval Structure (between adjacent strings, low to high):
  • String 6 (D2) to String 5 (A2): Perfect 5th (7 semitones)
  • String 5 (A2) to String 4 (E3): Perfect 5th (7 semitones)
  • String 4 (E3) to String 3 (G3): Minor 3rd (3 semitones)
  • String 3 (G3) to String 2 (A3): Major 2nd (2 semitones)
  • String 2 (A3) to String 1 (C4): Minor 3rd (3 semitones)
• Overall Chord Voicing: When all strings are strummed open, the combined notes (D, A, E, G, C) form a rich D minor 7 chord with an added 9th (E) and 11th (G). This complex Dm7(add9,11) voicing is neither purely major nor minor, offering a sophisticated, modern, or even jazzy harmonic foundation.
• Harmonic Characteristics: The presence of two consecutive perfect fifths on the lowest strings (D-A-E) creates a powerful, resonant bass foundation, akin to a broadened power chord. The upper strings then introduce more intricate, compressed intervals (minor 3rd, major 2nd, minor 3rd), allowing for nuanced melodies and harmonies.

Chords and Playability:

• Open String Resonance: The natural resonance of the open Dm7(add9,11) chord makes this tuning excellent for ambient soundscapes, drone-based compositions, or as a launching pad for modal improvisation.
• Barre Chord Potential: While not a simple major or minor open tuning, barring across all strings at various frets will yield unique and often sophisticated chords. For instance, barring at the 5th fret produces G-D-A-C-D-F, which functions as a G minor 7 chord with added 9th (A) and 11th (C). The consistent P5 intervals on the lower strings facilitate robust power-chord-like structures that can be easily moved up and down the neck.
• Melodic and Arpeggio Exploration: The varied intervals encourage exploration beyond standard scale shapes. The close proximity of notes on the upper strings (E-G-A-C) can lead to interesting melodic clusters and unique arpeggio patterns, especially useful for slide guitar or fingerstyle playing looking for fresh sounds.

How to Tune (from Standard EADGBe):

• String 6 (Low E to D2): Tune down 2 semitones. This transforms your low E into a powerful D, setting a deep root for the tuning. A standard gauge string should handle this easily.
• String 5 (A to A2): Keep as is; no change (0 semitones). Your A string remains in its standard pitch.
• String 4 (D to E3): Tune up 2 semitones. This brings your D string up to an E, contributing to the unique open voicing. Care should be taken when tuning up, though a 2-semitone raise is generally well within safe limits for most standard gauge strings.
• String 3 (G to G3): Keep as is; no change (0 semitones). Your G string stays at its standard pitch.
• String 2 (B to A3): Tune down 2 semitones. Lowering your B string to an A adds to the minor tonality and intricate intervals of the tuning. A standard gauge string should handle this easily.
• String 1 (High E to C4): Tune down 4 semitones. This is a significant drop, transforming your high E into a C. While many standard string gauges can handle a 4-semitone drop, it is at the threshold where a slightly heavier gauge string might be advised for optimal tension, tone, and longevity, especially if this tuning is used frequently or for extended periods. Generally, drops exceeding 4 semitones or raises exceeding 4 semitones typically warrant a different string gauge to ensure proper playability and avoid potential string damage or excessive looseness.

String 6 (Low E): Tuned to D2 (an octave below middle C).

String 5 (A): Tuned to A2 (below middle C).

String 4 (D): Tuned to E3 (just above middle C).

String 3 (G): Tuned to G3 (just above middle C).

String 2 (B): Tuned to A3 (above middle C).

String 1 (High E): Tuned to C4 (middle C).