Original Tuning Description: Deface tuning. Dm9 tuning. Needs string changes to work without breaking.

Verbal Analysis

This intriguing tuning, aptly named "Deface Tuning," immediately suggests a departure from standard guitar configurations. It's built around the rich and complex sound of a D minor 9th chord (Dm9), meaning that when all open strings are strummed, you're greeted with a full, melancholic, and sophisticated harmony. This provides a deep harmonic foundation, perfect for genres ranging from jazz and blues to progressive rock and metal, where a darker, more advanced harmonic palette is desired. The unique string intervals create interesting voicings and make certain arpeggios and melodic runs particularly resonant.

Technical Analysis

The open strings for this tuning are: D2 E2 F3 A3 C4 E4. This directly forms a D minor 9th chord (D-F-A-C-E). The presence of the D (root), F (minor third), A (perfect fifth), C (minor seventh), and E (major ninth) means the full chord voicing is available without fretting any notes. This makes it exceptionally easy to play sophisticated minor 9th harmonies, providing a powerful and atmospheric sound.

• Low D (6th string): Provides a deep, resonant root note for the Dm9 chord.
• E (5th string): Functions as the major 9th of the Dm9 chord, adding a characteristic open and slightly dissonant (in a good way) quality.
• F (4th string): The minor third, essential for defining the minor quality of the chord. Placed an octave higher than the lowest F would be, contributing to the open voicing.
• A (3rd string): The perfect fifth, grounding the chord harmonically.
• C (2nd string): The minor seventh, crucial for the dominant 7th flavor within the Dm9.
• High E (1st string): Reinforces the major 9th, providing brightness and extension to the upper register.

The intervals between strings are quite unique:

• 6th to 5th string (D2 to E2): Major 2nd (2 semitones)
• 5th to 4th string (E2 to F3): Minor 9th (13 semitones) - a very large jump, spanning more than an octave, which contributes to the open and wide voicing.
• 4th to 3rd string (F3 to A3): Perfect 4th (5 semitones)
• 3rd to 2nd string (A3 to C4): Minor 3rd (3 semitones)
• 2nd to 1st string (C4 to E4): Major 3rd (4 semitones)

This tuning offers easy access to Dm9 voicings across the fretboard and can inspire creative melodic and harmonic exploration. The significant interval between the 5th and 4th strings creates a distinct sonic character, potentially opening up unique arpeggiated patterns.

How to Tune

Please note the original description: "Needs string changes to work without breaking." This is due to the significant changes required for some strings. It is highly recommended to use appropriate string gauges for this tuning to prevent damage to your instrument or strings.

• 6th String (Low E): Tune down 2 semitones to D2.
• 5th String (A): Tune down 5 semitones to E2. Caution: This is a significant drop. Consider a heavier gauge string to avoid floppiness and potential intonation issues. (Exceeds -4 semitones)
• 4th String (D): Tune up 3 semitones to F3. Caution: Tuning up 3 semitones or more can put extra tension on the string. A lighter gauge string might be advisable. (User should take care)
• 3rd String (G): Tune up 2 semitones to A3.
• 2nd String (B): Tune up 1 semitone to C4.
• 1st String (High E): Keep as is; no change (0 semitones) to E4.

Always tune carefully and check your instrument's neck relief after making significant tuning changes.