This unique tuning, aptly named "D G B F# G# D", ventures far from conventional guitar setups, offering a distinctly dissonant and intriguing soundscape. As the original description suggests, it "sounds very bad but you can make some very interesting midwest emo songs with it (inspired by vs self)". This is a delightful understatement, as the tuning is engineered for a particular aesthetic – one that thrives on tension, angularity, and unconventional harmonic movement.

Technically, the open string intervals are highly irregular and contribute to its unique character. Starting from the 6th string, we observe the following intervallic relationships:

• D2 (6th string) to G2 (5th string): A Perfect 4th.
• G2 (5th string) to B2 (4th string): A Major 3rd.
• B2 (4th string) to F#4 (3rd string): A Perfect 12th (an octave and a perfect 5th)! This is a colossal jump in pitch across two adjacent strings, creating a massive intervallic gap that is a cornerstone of this tuning's jarring yet captivating sound.
• F#4 (3rd string) to G#4 (2nd string): A Major 2nd.
• G#4 (2nd string) to D4 (1st string): A Diminished 5th (or tritone). This highly dissonant interval is a hallmark of tension and is often sought after in experimental and emo music to create an unsettling yet emotionally resonant effect.

The overall result is a tuning that doesn't easily resolve into standard major or minor open chords. While elements of familiar chords exist (e.g., a G major triad - G-B-D - is present across strings 5, 4, and 1, albeit with a high D), the surrounding notes (D2, F#4, G#4) introduce significant harmonic tension. Similarly, the D notes on the 6th and 1st strings, coupled with the F# on the 3rd string, hint at a D major tonality, but the G, B, and G# strings create complex, often clashing, overtones. This inherent complexity is precisely what makes it ideal for the "midwest emo" genre, allowing for rich, open-string voicings that are both melancholic and angular, providing a canvas for emotional depth beyond conventional harmony.

Instead of traditional strumming, this tuning highly encourages arpeggiated figures, dissonant clusters, and riffs that leverage its unique intervallic relationships. Open-string chords will likely lean towards suspended, augmented, or extended harmonies, giving rise to unexpected emotional textures. Experimentation with partial chords and single-note lines that exploit the vast pitch range, particularly the dramatic jump from the 4th to 3rd string, will unlock the full potential of this truly distinct and expressive tuning.

Open String Notes:

• 6th String (Low E): D2
• 5th String (A): G2
• 4th String (D): B2
• 3rd String (G): F#4
• 2nd String (B): G#4
• 1st String (High E): D4

How to Tune:

To achieve the "D G B F# G# D" tuning, you will be adjusting your guitar from standard E Standard tuning. All strings are tuned down, which is generally safe for standard gauge strings. However, always exercise caution and tune slowly to avoid sudden tension changes.

• 6th String (Low E): Tune down 2 semitones to D2.
• 5th String (A): Tune down 2 semitones to G2.
• 4th String (D): Tune down 3 semitones to B2.
• 3rd String (G): Tune down 1 semitone to F#4.
• 2nd String (B): Tune down 3 semitones to G#4.
• 1st String (High E): Tune down 2 semitones to D4.

Since all adjustments are within a 4-semitone range downwards, this tuning should be manageable for most standard gauge strings without significant tension issues. However, if your guitar shows any signs of distress, or if you intend to keep it in this tuning for extended periods, a professional setup or a specific string gauge tailored for lower tension might be beneficial to maintain optimal playability and guitar health.