The Accidental Quartal Drop tuning, as its name suggests, is a unique and somewhat unconventional setup for the guitar, reportedly discovered by accident. This tuning emphasizes a deep, resonant low end with an unexpected twist in the higher strings, creating a soundscape suitable for experimental, heavy, or avant-garde musical styles.

Verbal Analysis

This tuning has a dark and brooding character, primarily due to the significant drop in pitch for the lower four strings. The first four strings (low D, G, C, F) are tuned in perfect fourths, a configuration often found in bass guitars or specific jazz tunings, which provides a very logical and accessible fretboard layout for scales and arpeggios in that range. This 'quartal' harmony offers a distinct, open sound that can feel expansive and powerful. However, the true eccentricity begins with the higher strings. The second string is tuned to a remarkably high A♯4 (A-sharp in the fourth octave), creating a piercing and extremely bright contrast to the low, guttural tones. This is immediately followed by the first string tuned to C4, resulting in a very tight and potentially dissonant major second interval (A♯ to C) in the highest register. This extreme juxtaposition means the tuning can produce everything from dense, sludgy power chords on the lower strings to shimmering, almost bell-like dissonances on the higher ones.

Open chords will be highly unconventional. The open strings D-G-C-F-A♯-C don't readily form a standard triad. The lower D-G-C-F suggests a Dsus4(addG) or a C dominant 7 suspended 4th (C7sus4) type of sound. The presence of both F and C, along with A♯ (Bb), points towards a C minor 7 or C dominant 7 tonality, but with the added D and G, it becomes quite complex and ambiguous. This ambiguity can be creatively leveraged for unique harmonic textures and drones, rather than traditional chord progressions. Shapes across the lower four strings will be consistent due to the perfect fourth intervals, allowing for easy transposition of chord voicings and melodic patterns.

Technical Analysis

• Instrument Type: Guitar
• Tuning Notes (Low to High): D2, G2, C3, F3, A♯4, C4
• Interval Analysis from Standard EADGBe Tuning:
  • 6th String (E to D): Down a whole step (2 semitones).
  • 5th String (A to G): Down a whole step (2 semitones).
  • 4th String (D to C): Down a whole step (2 semitones).
  • 3rd String (G to F): Down a whole step (2 semitones).
  • 2nd String (B to A♯4): This is highly unusual. From standard B3, tuning to A♯4 is an increase of 13 semitones (an octave and a semitone up). This would require an extremely light gauge string and carries a high risk of breakage. There is a discrepancy with the "How to Tune" instructions which suggest tuning down.
  • 1st String (E to C): Down a major third (4 semitones).
• Internal Intervals (adjacent strings, ascending):
  • D2 to G2: Perfect Fourth (5 semitones)
  • G2 to C3: Perfect Fourth (5 semitones)
  • C3 to F3: Perfect Fourth (5 semitones)
  • F3 to A♯4: Augmented 11th (18 semitones) - a very large leap in pitch across the octave.
  • A♯4 to C4: Major Second (2 semitones) - This is a very tight, dissonant interval in the upper register.

The significant drop in tension on the lower strings (especially the 1st string by 4 semitones) combined with the extreme tension implied by the A♯4 on the 2nd string suggests that a custom set of string gauges would be essential for this tuning to be stable and playable without risk to the instrument or strings. The lower strings would benefit from heavier gauges, while the second string would need an extremely light gauge to safely reach A♯4.

How to Tune (and Notes Description)

To achieve the Accidental Quartal Drop tuning, follow these steps from standard EADGBe tuning. Please note the specific string movements from standard tuning and the target notes. Pay close attention to warnings regarding string gauge, especially for the high A♯4, as this tuning has unique requirements.

• String 6 (Low E): Tune down 2 semitones to D2. This is a moderate drop in tension from standard E and should be manageable with standard string gauges.
• String 5 (A): Tune down 2 semitones to G2. Similar to the 6th string, this is a moderate drop from standard A.
• String 4 (D): Tune down 2 semitones to C3. Another moderate drop from standard D, maintaining a consistent interval with the lower strings.
• String 3 (G): Tune down 2 semitones to F3. This completes the quartet of lower strings tuned down by a whole step from standard G.
• String 2 (B): The tuning instructions from the 'string_movements' data indicate to tune down 1 semitone from standard B3, which would result in A♯3 (Bb3). However, the specified target note for this tuning (from 'tuning_notes') is A♯4. Achieving A♯4 from standard B3 (or even A♯3) would involve tuning up an extreme amount (13 semitones from B3 or 12 semitones from A♯3). This is an extremely high tension setup for a standard guitar string and is very prone to breaking, and could potentially damage your instrument. A much thinner gauge string is strongly advised, or reconsidering the target pitch for this string to avoid instrument damage and string breakage.
• String 1 (High E): Tune down 4 semitones to C4. This is a significant drop in pitch and tension from standard E. A heavier gauge string than standard might be beneficial to maintain sufficient tension and tone, although it falls within the range where a standard gauge might still function, albeit with reduced tension.