The DAF#DBE tuning, known for its use in John Mark Pantana's "Sweeter Than Wine," is a captivating and highly resonant alteration of standard guitar tuning. This setup transforms the instrument into a sonic canvas rich with open, harmonically complex possibilities.

Verbal Analysis

Verbally, this tuning immediately evokes a sense of openness and brightness. The predominant D Major tonality, established by the lowest strings (D-A-F#-D), creates a strong, warm foundation. The addition of the B (on the 2nd string) and E (on the 1st string) over this D Major chord transforms the open strings into a lush, inviting D Major 6/9 or D Lydian-esque sound. It's an ideal tuning for fingerstyle players, allowing for intricate arpeggios and sustained chords that shimmer with natural resonance. Chords that might typically require complex fingerings in standard tuning often become accessible with just one or two fingers, opening up new melodic and harmonic avenues. This tuning encourages a creative approach, making it easy to discover fresh voicings and progressions with a distinct, lyrical quality.

Technical Analysis

Technically, the DAF#DBE tuning departs significantly from standard EADGBe. Starting from the 6th string, it's tuned down a whole step to D2 (Drop D territory). The 5th string remains at A2, while the 4th string is notably tuned up four semitones from D to F#4. The 3rd string sees an even more dramatic shift, tuned up seven semitones from G to D4. The 2nd and 1st strings remain at their standard B3 and E4, respectively. This results in the specific open string configuration: D-A-F#-D-B-E.

• The lowest four strings (D-A-F#-D) form a powerful D Major chord, providing an excellent drone or harmonic center.
• The intervals between the strings are: Perfect 5th (D-A), Major 3rd (A-F#), Perfect 4th (F#-D), Minor 3rd (D-B), Perfect 4th (B-E).
• The open strings D-A-F#-D-B-E collectively spell a D Major 6/9 chord (D-F#-A-B-E with doubled D). This makes the open position incredibly rich and harmonically complete, enabling the creation of full-sounding chords with minimal effort.

Common chord shapes in standard tuning will be completely altered, necessitating a fresh exploration of the fretboard. However, the presence of multiple D notes and the D Major triad on the lower strings means that D-based chords will be exceptionally resonant. Open shapes like Dsus2, Dsus4, and D Major 7th will be readily available or easily achievable with minor adjustments. The wide interval jumps on the middle strings (A-F#, F#-D) create unique opportunities for open voicings and ringing tones, making it particularly well-suited for ambient, folk, or acoustic compositions.

How to Tune

To achieve the DAF#DBE tuning from standard EADGBe, follow these string-by-string adjustments. Please exercise caution, especially with strings tuned significantly up.

• String 6 (Low E): Tune down 2 semitones to D2. (Safe range)
• String 5 (A): Keep as is; no change (0 semitones) to A2. (Safe range)
• String 4 (D): Tune up 4 semitones to F#4. Caution: Tuning up 4 semitones is a significant change. Consider a lighter gauge string if this tuning will be used frequently, or proceed with care.
• String 3 (G): Tune up 7 semitones to D4. Warning: Tuning up 7 semitones is a very substantial increase in tension. A lighter gauge string is strongly advised to prevent string breakage and potential neck damage. Proceed with extreme caution.
• String 2 (B): Keep as is; no change (0 semitones) to B3. (Safe range)
• String 1 (High E): Keep as is; no change (0 semitones) to E4. (Safe range)

Here are the notes for each string in the DAF#DBE tuning:

• String 6: D2 (Low D)
• String 5: A2 (A)
• String 4: F#4 (F#)
• String 3: D4 (D)
• String 2: B3 (B)
• String 1: E4 (High E)