This unique guitar tuning, named "Thurston's Inspired Reverse-Error," emerged from an intriguing journey of musical experimentation. It was born from a delightful 'mistake' during an attempt to reverse one of Thurston Moore's known alternate tunings (GCDGCD to DCGDGC). The creator's mind, however, interpreted it as DGCDGC, leading to the happy accident of the D-G-C-D-G-C open string configuration.

Verbal Analysis:

The overall feel of this tuning is remarkably open, resonant, and expansive. The prevalence of perfect fourth intervals (D-G, G-C, D-G, G-C) across most strings creates a rich, sustained drone-like quality, inviting an ambient or experimental approach. There's a certain raw, almost primal ring to the open strings, reminiscent of folk instruments or ancient modes. The accidental nature of its discovery lends it a charming unpredictability, encouraging players to explore its unique sonic landscape rather than conforming to conventional chord shapes.

Technical Analysis:

• Open Notes: The strings are tuned to D2-G2-C3-D3-G3-C4 (low to high).
• Interval Structure:
  • String 6 (D2) to String 5 (G2): Perfect 4th (5 semitones)
  • String 5 (G2) to String 4 (C3): Perfect 4th (5 semitones)
  • String 4 (C3) to String 3 (D3): Major 2nd (2 semitones) - This is the most striking deviation from a consistent 4th-based pattern, creating a distinctive harmonic color.
  • String 3 (D3) to String 2 (G3): Perfect 4th (5 semitones)
  • String 2 (G3) to String 1 (C4): Perfect 4th (5 semitones)
• Harmonic Content: The open strings contain the notes D, G, and C. With D as the lowest note, the open tuning strongly suggests a Dsus4add9 chord (D-G-C). It can also be interpreted as a Gsus2sus4 (G-C-D) with D in the bass, or a Cadd9 chord (C-D-G) with D in the bass. The presence of repeated D, G, and C notes across octaves (D2-D3, G2-G3, C3-C4) adds to its lush resonance.
• Chords and Voicings:
  • Open Chord: The open tuning naturally forms a rich Dsus4add9 (D G C D G C) chord, providing an immediate full and suspended sound.
  • Barre Chords: Due to the predominance of perfect fourths, a simple one-finger barre across all strings will consistently produce a sus4add9 chord based on the fret's root note. For example, barring at the 1st fret yields Eb sus4add9.
  • Unique Opportunities: The C3-D3 interval between the 4th and 3rd strings breaks the fourths pattern, making traditional major/minor triad shapes difficult but opening up possibilities for unique clustered voicings, drones, and melodic lines that emphasize this interval. This tuning is particularly well-suited for ambient textures, arpeggiated patterns, and exploring modal ideas rather than conventional chord progressions.

Below are the target notes for each string in this tuning, from the thickest (6th) to the thinnest (1st) string:

• 6th String: D2
• 5th String: G2
• 4th String: C3
• 3rd String: D3
• 2nd String: G3
• 1st String: C4

How to Tune:

To achieve "Thurston's Inspired Reverse-Error" tuning from standard E-A-D-G-B-E tuning, follow these precise string adjustments:

• 6th String (Low E): Tune down 2 semitones from E2 to D2.
• 5th String (A): Tune down 2 semitones from A2 to G2.
• 4th String (D): Tune down 2 semitones from D3 to C3.
• 3rd String (G): Tune down 5 semitones from G3 to D3. (Note: This drop exceeds -4 semitones; a heavier gauge string is advised for optimal tension and tone.)
• 2nd String (B): Tune down 4 semitones from B3 to G3.
• 1st String (High E): Tune down 4 semitones from E4 to C4.

Please note the guideline: a different gauge string is advised when movements exceed negative 4 semitones (i.e., -5 or more) or are positive 4 semitones or above (i.e., +4 or more).