Tuning Analysis: Mi kk el

Myself

Verbal Description

The "Mi kk el" tuning presents a deeply resonant and somewhat melancholic soundscape, diverging significantly from standard EADGBe. The tuning, D-G-C-F-C-E, creates a unique harmonic palette, characterized by several dropped low strings which contribute to a darker, heavier timbre. This makes it particularly well-suited for genres requiring substantial low-end presence, such as modern metal, alternative rock, or even ambient soundscapes where open, drone-like qualities are desired. The combination of dropped fourths and a significant shift on the second string opens up a world of new chord voicings and melodic possibilities, encouraging players to explore shapes beyond traditional fretboard patterns. It feels designed for expressive playing, where the rich sustain of the open strings can be utilized to full effect.

Technical Analysis

This tuning sets the guitar strings to D2-G2-C3-F3-C4-E4 (low to high). Let's break down its structure:

• Lower Strings (6th to 3rd): The 6th (D2), 5th (G2), 4th (C3), and 3rd (F3) strings are all tuned down a full step (2 semitones) from standard EADG. This creates a series of perfect fourths (D-G, G-C, C-F), offering a symmetrical fretboard layout for these lower strings. This symmetrical pattern simplifies the creation of movable power chords and bass lines, reminiscent of an all-fourths tuning section.
• Middle Strings (3rd to 2nd): The interval between the 3rd string (F3) and the 2nd string (C4) is a perfect fifth. This is a notable departure from both standard tuning's major third (G-B) and the perfect fourths below. This perfect fifth provides a strong, stable harmonic relationship that can be exploited for robust two-note voicings.
• Upper Strings (2nd to 1st): The interval between the 2nd string (C4) and the 1st string (E4) is a major third. This maintains a familiar intervallic relationship found in the top two strings of standard tuning (B-E), offering some common chord shapes for the highest notes, albeit shifted in context.

Open String Chords & Voicings

The open strings themselves (D-G-C-F-C-E) do not form a single conventional major or minor chord, but offer rich harmonic possibilities:

• The presence of C (4th & 2nd strings), E (1st string), and G (5th string) strongly suggests a C major triad (C-E-G) is readily available within the open tuning, with the two C notes adding thickness.
• Adding the F (3rd string) into the mix, along with the C, E, G, creates a strong implication of a Cadd4 or a Cmaj7sus4 voicing, especially if the D (6th string) is treated as a pedal tone or a passing note.
• The lower strings D-G-C-F present a perfect opportunity for powerful, resonant open power chords and drones. For example, striking the 6th, 5th, and 4th strings creates a Dsus4/G or Gsus2/D.
• The combination of F-C-E on the top three strings can be readily used to voice an Fmaj7 (no root) or a unique C major chord extension.
• Due to the consistent perfect fourths on the lower four strings, players will find that many movable chord shapes and melodic patterns will transfer easily across these strings, similar to bass guitar or 'all-fourths' tuning concepts. This symmetry can simplify navigation for certain types of riffs and arpeggios.

Current String Notes

Here are the notes for each string in this tuning, from the lowest (thickest) to the highest (thinnest):

• String 6 (Low E string): D2
• String 5 (A string): G2
• String 4 (D string): C3
• String 3 (G string): F3
• String 2 (B string): C4
• String 1 (High E string): E4

How to Tune

To achieve the "Mi kk el" tuning from standard EADGBe, follow these steps:

• String 6 (Low E string): Tune down 2 semitones to D2.
• String 5 (A string): Tune down 2 semitones to G2.
• String 4 (D string): Tune down 2 semitones to C3.
• String 3 (G string): Tune down 2 semitones to F3.
• String 2 (B string): Tune up 1 semitones to C4.
• String 1 (High E string): Keep as is; no change (0 semitones) to E4.

Important String Gauge Advice: For string movements exceeding 4 semitones up or down (e.g., -5 or +5 semitones), it is generally advisable to consider using a different gauge string. This helps maintain optimal string tension, improves intonation, and prevents premature string breakage. For this specific tuning, all string movements are within the recommended range (not exceeding 4 semitones in either direction), so your current standard string set should be suitable.