Allows one to avoid barring power chords all the times, often tuned down. I made it up.

Verbal Analysis

This is a truly unique and highly experimental guitar tuning. As its creator notes, it aims to "avoid barring power chords," suggesting a departure from conventional playing styles in favor of specific open string harmonies or specialized fingerings. While the lowest string (D2) is indeed tuned down, the overall tuning involves a significant increase in tension for most other strings. The combination of open notes presents a complex and inherently dissonant, yet potentially very compelling, sonic landscape.

Technical Analysis

• Open Notes: D2, B2, F4#, C4, D5#, B4 (from low to high).
• The tuning establishes a low D (6th string) as a potential root, but then immediately introduces a B (5th string) a major sixth above, followed by a remarkably high F# (4th string) two octaves above the D.
• A defining characteristic is the striking dissonance created by the D#5 on the 2nd string, which is a minor second interval against the low D2. This inherent clash shapes the entire harmonic profile of the tuning.
• The set of notes (D, B, F#, C, D#, B) contains elements that could suggest B minor (B, D, F#) or a Gmaj6/9 (G, B, D, F#), but the C and especially the D# introduce significant tension, pushing the harmonic possibilities towards avant-garde or highly specialized contexts.
• Intervals between adjacent strings are highly irregular: D2-B2 (Major 6th), B2-F#4 (Perfect 5th + Octave), F#4-C4 (Diminished 5th), C4-D#5 (Augmented 2nd + Octave), D#5-B4 (Diminished 5th). This complexity makes traditional chord voicings difficult to adapt.

Open Chords and Playability

Given the strong D-D# dissonance and the inclusion of C, standard open major or minor chords are virtually unplayable without careful muting or extensive re-fingering. This tuning is clearly not designed for conventional chordal accompaniment.

Instead, it likely lends itself to drone-based compositions utilizing the low D, incorporating melodic lines or arpeggiated figures that deliberately embrace its unique tensions. The high B4 on the first string, an octave above the B2 on the fifth string, provides an interesting octave doubling opportunity for specific voicings.

The claim of "avoiding barring power chords" suggests that single-finger or unique two-finger voicings may be facilitated, but the fundamental intervals are not aligned with standard power chord constructions. This tuning demands a highly specific and creative approach, emphasizing its distinct harmonic texture rather than fitting into established frameworks. It is important to note that the significant upward tension on several strings, particularly String 1 (up 7 semitones), necessitates the use of lighter gauge strings to prevent string breakage and potential instrument damage.

Open String Notes

• String 6 (Low E string equivalent): D2
• String 5 (A string equivalent): B2
• String 4 (D string equivalent): F4#
• String 3 (G string equivalent): C4
• String 2 (B string equivalent): D5#
• String 1 (High E string equivalent): B4

How to Tune (from Standard EADGBe)

• String 6 (Low E): Tune down 2 semitones to D2.
• String 5 (A): Tune up 2 semitones to B2.
• String 4 (D): Tune up 4 semitones to F#4. Caution: Tuning up 4 semitones is significant; consider using a lighter gauge string.
• String 3 (G): Tune up 5 semitones to C4. Warning: Tuning up 5 semitones is substantial and may risk string breakage; a lighter gauge string is strongly advised.
• String 2 (B): Tune up 4 semitones to D#5. Caution: Tuning up 4 semitones is significant; consider using a lighter gauge string.
• String 1 (High E): Tune up 7 semitones to B4. Extreme Caution: Tuning up 7 semitones is a very drastic change and highly risks string breakage and/or damage to your instrument; a significantly lighter gauge string is essential.