Verbal Analysis

The DGBF#BE tuning is a unique and expressive altered tuning for the guitar, notably used by artists like Alex G in tracks such as "Hollow." It deviates significantly from standard EADGBe, creating a sound world that is both familiar in some aspects and strikingly fresh in others. The lower three strings are all tuned down, giving the guitar a deeper, resonant foundation. The fourth string is also lowered, while the top two strings (B and E) remain at their standard pitch, providing a point of familiarity and access to common chord shapes in the upper register. This combination results in a tuning that can feel moody, introspective, and even a little melancholic, perfectly suiting the lo-fi and indie aesthetics often associated with its use.

The open strings themselves don't form a conventional major or minor chord, offering a complex, almost suspended quality when strummed together. This encourages creative fretboard exploration and often leads to unique voicings that wouldn't be possible in standard tuning. The presence of the F# on the 3rd string against the lower D, G, and B creates a rich, sophisticated harmonic texture that leans towards extended chords and ambiguous tonalities, making it ideal for fingerstyle arpeggios or open, ringing strumming patterns.

Technical Analysis

This tuning transforms the standard EADGBe setup to D2 G2 B2 F#3 B3 E4. Let's break down the intervals and implications:

• The lowest three strings (D2, G2, B2) form an inverted G major triad (G-B-D). This provides a strong, resonant G major foundation in the bass register.
• The third string is tuned to F#3. When combined with the lower D2 G2 B2, this introduces the major seventh of G (F#), strongly implying a Gmaj7 tonality. The full open string voicing of D2 G2 B2 F#3 B3 E4 contains the notes D, E, F#, G, B – essentially a G Lydian scale (G A B C# D E F#) missing A and C#.
• The upper two strings (B3, E4) remain standard, providing familiar intervals and fingerings for lead lines or chord extensions.
• The overall intervallic structure from the lowest D2 is: Perfect 4th (G), Major 6th (B), Major 9th (F#3, or Major 3rd of D), Major 13th (B3), Major 16th (E4). This creates a wide, open sound with several compound intervals.

Open Chords and Accessible Voicings

• Open Strings (D G B F# B E): When strummed open, this tuning produces a complex, ringing chord that could be analyzed as a Gmaj7sus2/D or a Dmaj9sus4. It's not a simple major or minor, inviting unique harmonic interpretations.
• Lower Strings (D G B): A clear G major triad (2nd inversion) is readily available, perfect for droning bass lines or strong rhythmic figures.
• G Major 7th: The presence of D, G, B, and F# (all open) means that a rich Gmaj7 chord is very accessible, often requiring only minimal fretting or even just selecting specific open strings.
• D Major / Dsus: Given the low D string, D-based chords are naturally facilitated. Adding the open F# to the D and B can create interesting D major flavors, while the open G and E provide sus4 and add2 possibilities.
• Accessible Shapes: The tuning's structure often lends itself to "one-finger" or "two-finger" chords that cover multiple strings, creating drone-like textures. Barre chords will take on entirely new voicings, and familiar shapes will need to be re-learned or adapted to the new intervallic relationships, especially on the lower strings. The standard top two strings mean that conventional melodies or partial chords on those strings can still be played, grounding the otherwise altered sound.

How to Tune

To achieve the DGBF#BE tuning from standard EADGBe, follow these steps:

• 6th String (Low E): Tune down 2 semitones to D2. (E2 → D2)
• 5th String (A): Tune down 2 semitones to G2. (A2 → G2)
• 4th String (D): Tune down 3 semitones to B2. (D3 → B2)
• 3rd String (G): Tune down 1 semitone to F#3. (G3 → F#3)
• 2nd String (B): Keep as is; no change (0 semitones). (B3 → B3)
• 1st String (High E): Keep as is; no change (0 semitones). (E4 → E4)

Important Note on String Gauge: All string adjustments in this tuning are within 4 semitones of standard pitch (down 1 to 3 semitones). This means a standard set of guitar strings should generally accommodate this tuning without requiring a different gauge. However, always exercise caution when tuning, especially when increasing string tension (though not applicable here), and ensure your guitar's neck relief is stable after changing tuning.

6th String: D2 - The lowest string is tuned down a full step from standard E.

5th String: G2 - The fifth string is tuned down a full step from standard A.

4th String: B2 - The fourth string is tuned down a step and a half from standard D.

3rd String: F#3 - The third string is tuned down a half step from standard G.

2nd String: B3 - The second string remains at its standard pitch.

1st String: E4 - The highest string remains at its standard pitch.