Tuning Overview: Open Dsus2 (dbdgad)

This intriguing tuning, aptly named "Open Dsus2 (dbdgad)", presents a unique sonic landscape, departing significantly from standard EADGBe tuning. As described by its creator, "it's a full suspended two chord when played open... easy familiar shapes bring it back to normal chording." While a direct technical analysis of the open notes reveals a richer chord than a simple Dsus2, this description highlights its character and ease of use for creating suspended sounds, and its adaptability for familiar chord voicings with a fresh perspective.

Verbal Analysis:

The Open Dsus2 (dbdgad) tuning immediately offers a resonant and open sound, heavily favoring the key of D. With the low and high E strings both tuned down to D, and the D string remaining, it creates a powerful, droning foundation. The most striking changes from standard tuning are the B on the 5th string (tuned up from A) and the A on the 2nd string (tuned down from B). This rearrangement of intervals opens up possibilities for rich, expansive voicings that feel both familiar and distinct. The "suspended two chord" feel might come from the overall airy quality and the ease of creating suspended voicings through simple fingerings. It's particularly well-suited for slide guitar, fingerstyle, or creating atmospheric soundscapes, where the open strings can ring freely, providing a constant harmonic bed.

Technical Analysis:

The open notes for this tuning are D2-B2-D3-G3-A3-D4 (from lowest to highest string). Analyzing these notes (D, G, A, B), we find that they form a D6sus4 chord (D-G-A-B). This chord offers a blend of suspension (G being the perfect 4th of D) and melodic richness (B being the major 6th of D), providing a versatile tonal palette even before fretting. The tuning deviates from standard E Standard (E2-A2-D3-G3-B3-E4) as follows:

• String 6 (Low E equivalent): Tuned down a whole step (2 semitones) from E2 to D2.
• String 5 (A equivalent): Tuned up a whole step (2 semitones) from A2 to B2.
• String 4 (D equivalent): Remains at D3 (no change).
• String 3 (G equivalent): Remains at G3 (no change).
• String 2 (B equivalent): Tuned down a whole step (2 semitones) from B3 to A3.
• String 1 (High E equivalent): Tuned down a whole step (2 semitones) from E4 to D4.

Chordal Opportunities:

The open D6sus4 voicing provides a rich harmonic starting point. Due to the repeated D notes and the D-G-A interval, open string drones against fretted notes will sound particularly good, creating lush, sustained harmonies.

• Open Chord: The open strings ring out as a D6sus4 chord (D-B-D-G-A-D), offering a full, ethereal sound perfect for intros or atmospheric playing.
• Barre Chords: Barring all strings at any fret will produce an analogous chord shape, maintaining the interval relationships. For instance, a barre at the 5th fret yields G-E-G-C-D-G, which can be interpreted as a Gsus4(add6, add9). A barre at the 7th fret gives A-F#-A-D-E-A, an Aadd4/Aadd11. These create unique, ringing voicings that are distinct from standard tuning barre chords.
• Familiar Shapes: Experimentation with common chord shapes will uncover new sonic textures. For example, a standard C major chord shape (X32010 in E Standard) when applied to this tuning would create a different, often unexpected, voicing. A standard G major chord shape (320003 in E Standard) would become G-B-D-G-A-D, which is a G major chord with an added A (Gadd9), providing a fuller, jazzier sound. This tuning encourages re-thinking finger positions for familiar chords, leading to creative discoveries.

Open String Notes:

Here are the specific notes for each open string, from the lowest (thickest) to the highest (thinnest):

• String 6 (Low E equivalent): D2
• String 5 (A equivalent): B2
• String 4 (D equivalent): D3
• String 3 (G equivalent): G3
• String 2 (B equivalent): A3
• String 1 (High E equivalent): D4

How to Tune:

To achieve the Open Dsus2 (dbdgad) tuning from standard E Standard (EADGBe), follow these steps carefully for each string. When tuning, always proceed with caution and make small adjustments. For string movements exceeding 4 semitones up or down, it is generally recommended to consider using a different string gauge to ensure optimal playability, maintain proper intonation, and prevent potential string breakage.

• String 6 (Low E): Tune down 2 semitones from E2 to D2. (Tune down 2 semitones)
• String 5 (A): Tune up 2 semitones from A2 to B2. (Tune up 2 semitones)
• String 4 (D): Keep as is; no change from D3. (Keep as is; no change (0 semitones))
• String 3 (G): Keep as is; no change from G3. (Keep as is; no change (0 semitones))
• String 2 (B): Tune down 2 semitones from B3 to A3. (Tune down 2 semitones)
• String 1 (High E): Tune down 2 semitones from E4 to D4. (Tune down 2 semitones)