DGBF#BD Tuning: A Resonant and Open Soundscape

This unique DGBF#BD tuning presents a highly resonant and open sound, diverging significantly from standard EADGBe. With multiple strings tuned down, it encourages a rich, drone-like texture, particularly in the lower register. The open strings immediately suggest a full, D-centric harmony, making it ideal for fingerstyle, slide, or ambient soundscapes where ringing, sustained notes are desired. It avoids the rigidity of standard tuning, inviting exploration of new chord voicings and melodic patterns that emphasize the open string relationships.

Technical Analysis

The open strings for this tuning are D2, G2, B2, F#4, B3, D4 (from lowest to highest). These notes form a rich, complex harmony. The fundamental D on the 6th string provides a strong root. The presence of F# (the major third of D) confirms a D major quality. The G (perfect fourth) and B (major sixth) add color, essentially creating a Dadd4add6 (or D6/9 without the 5th) chord. The high F#4 on the 3rd string, relative to the lower D, G, B, gives a bright, almost harp-like quality to the higher register, while the lower D-G-B creates a solid foundation.

The intervals between consecutive open strings are:

• String 6 (D2) to String 5 (G2): Perfect 4th (P4)
• String 5 (G2) to String 4 (B2): Major 3rd (M3)
• String 4 (B2) to String 3 (F#4): This is a significantly large interval, a perfect 12th (a perfect 5th plus an octave) up.
• String 3 (F#4) to String 2 (B3): A perfect 4th down.
• String 2 (B3) to String 1 (D4): Minor 3rd (m3)

This tuning naturally lends itself to open D major and related voicings. Barre chords can be tricky due to the irregular intervals, especially the large jump to the 3rd string, but can yield unique sounds. Chords based around D, G, and B will be readily accessible. The repeated D and B notes across octaves provide excellent opportunities for drones and ringing harmonies, offering a versatile palette for creative guitarists.

How to Tune (from Standard EADGBe)

Remember to detune slowly to avoid string breakage, especially with significant downward movements. For larger string movements (exceeding 4 semitones up or down), consider using a different gauge string for optimal tension and tone.

• String 6 (Low E): Tune down 2 semitones to D2.
• String 5 (A): Tune down 2 semitones to G2.
• String 4 (D): Tune down 3 semitones to B2.
• String 3 (G): Tune down 1 semitone to F#3. Note: The overall tuning name and notes describe this string as F#4. Achieving F#4 from standard G3 would typically involve tuning up significantly (+11 semitones), or moving from an F#3 to an F#4 (octave up). The provided string movement specifically instructs tuning down 1 semitone from G3 to F#3. If you intend to reach F#4, please ensure your string gauge is appropriate for the higher tension required.
• String 2 (B): Keep as is; no change (0 semitones), remains B3.
• String 1 (High E): Tune down 2 semitones to D4.

String 6 (Low E): Tuned to D2
String 5 (A): Tuned to G2
String 4 (D): Tuned to B2
String 3 (G): Tuned to F#4
String 2 (B): Tuned to B3
String 1 (High E): Tuned to D4