Tuning Analysis: Quartal Minor Drop

This analysis describes a unique and experimental guitar tuning, leveraging a significantly lowered pitch across most strings. As described by its originator, this 'Random drop tuning' (D-G-C-F-B-D) aims for a 'quite bassy sounding' quality, inviting further experimentation, suggesting its potential for heavier genres or creating dark, atmospheric soundscapes.

Technical Observations

The instrument is a Guitar, and its tuning is set to D2-G2-C3-F3-B3-D4. This represents a substantial lowering from standard E tuning (E2-A2-D3-G3-B3-E4). The dominant feature is that five out of six strings are tuned down by a full step (2 semitones), with only the 2nd string (B3) remaining at its standard pitch.

• The low four strings (D2-G2-C3-F3) are all tuned in perfect fourths, creating a consistent 'quartal' stacking. This is a powerful intervallic pattern for both rhythm and lead playing, diverging from standard tuning's mix of fourths and a major third.
• The interval between the 3rd string (F3) and the 2nd string (B3) is an Augmented 4th (a tritone, 6 semitones). This dissonant interval creates a focal point of tension and character within the tuning, breaking the quartal pattern.
• The top two strings (B3-D4) are tuned a minor third apart, which is a common interval for blues and rock voicings. Interestingly, the notes F3-B3-D4 form a B diminished triad, suggesting a potential for dark or tense harmonic textures when these strings are played open or as part of a chord.

Overall, the tuning emphasizes lower registers and non-standard intervals, pushing beyond conventional open chord voicings and encouraging a more explorative approach to harmony and melody.

Chordal and Playability Analysis

Given the open strings D-G-C-F-B-D, this tuning does not immediately present a simple major or minor open chord. Instead, it offers a rich, complex, and somewhat dissonant palette:

• Open Chord: Playing all open strings simultaneously yields a complex harmony containing D, G, C, F, and B. This could be interpreted as a Dm7(add9, b13) or a G11sus4 with an added B, depending on the chosen root. It's more of a cluster or poly-chordal voicing rather than a straightforward triad, ideal for ambient or experimental passages.
• Power Chords: The uniform drop of 2 semitones on most strings makes this tuning excellent for very heavy, low power chords. Familiar power chord shapes on the lowest strings will retain their relative intervals but sound a whole step lower, creating a 'deeper' and more resonant sound. Barring across the lower quartal strings (6, 5, 4, 3) at any fret will produce complex, dense voicings that lean towards extended harmonies or suspended chords, depending on the specific fret.
• Riffing: The extremely low D2 string is ideal for deep, chugging riffs, especially in genres like metal, hard rock, or experimental music. The consistent drop across most strings means that patterns learned in standard tuning can often be adapted by transposing them up two frets.
• Unique Voicings: The specific intervallic structure, particularly the F-B tritone and the B diminished triad (F-B-D) on the higher strings, opens up possibilities for creating tension, dissonance, and unique melodic lines that would be difficult to achieve in standard tuning. This encourages exploration of modal playing or creating distinct sound textures.

This tuning strongly encourages exploration of non-traditional chord voicings and single-note lines, making it suitable for players seeking to break away from conventional harmonic structures and explore darker, heavier, or more avant-garde sounds, aligning perfectly with the originator's intent for experimentation.

How to Tune

To achieve the 'Quartal Minor Drop' tuning from standard E tuning (E-A-D-G-B-E), follow these specific instructions. Please note that string movements of more than 4 semitones up or down often warrant a change in string gauge for optimal playability and string tension. While none of the movements here exceed that threshold, always ensure your guitar's neck relief is stable when making significant tuning changes.

• 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 2 semitones from G3 to F3.
• 2nd String (B): Keep as is; no change (0 semitones) from B3.
• 1st String (High E): Tune down 2 semitones from E4 to D4.