Verbal Analysis: The Lowly Dissonance

This unique tuning, notably employed by Ezra Furman in a live rendition of 'God Lifts Up The Lowly', plunges the guitar into a realm of deep resonance juxtaposed with stark, compelling dissonance. The lower strings offer a dark, open, and almost melancholic foundation with the D-G-C sequence. However, the presence of the G# on the third string creates an immediate and striking tension against the surrounding notes, particularly the D, G, and C. This isn't a tuning designed for conventional open chords; instead, it invites experimentation with arpeggios, single-note melodic lines, and angular, avant-garde chord voicings that capitalize on its inherent friction. The overall feel is raw, emotive, and perfect for conveying a sense of unease or profound introspection, aligning well with the song's title.

Technical Analysis: DGC G#AD Altered

The open strings of this tuning are **D2 G2 C3 G#4 A3 D4**.

From a technical standpoint, this tuning diverges significantly from standard EADGBe. It establishes D as a clear root, reinforced by the D2 and D4 an octave apart, and a strong perfect fifth (A3). The lower three strings (D2, G2, C3) create a D minor 7th sound (root, perfect 4th, minor 7th from D), providing a strong, somewhat somber bass. However, the true character of this tuning emerges with the G#4 on the third string. This G# creates a highly dissonant augmented 4th (or diminished 5th) interval with the root D and also an augmented 4th with the C3 on the fourth string. The very close proximity of G2 (second string) and G#4 (third string), albeit an octave apart, emphasizes a minor second interval, contributing to the overall tension.

**Implied Chords & Shapes:**

Strumming all open strings will yield a complex, dissonant sound that might be perceived as a D(add4, addm7, #11, add5) or a highly altered Dm7. Traditional chord shapes will largely be unusable. Instead, players can explore:

• Root & Fifth Power Chords: The D2 and A3 on strings 6 and 2 provide a strong D5 power chord base, allowing for exploration of the upper dissonances.
• Minor 7th Voicings: By playing only the lowest three strings (DGC) or muting the G# string, one can access rich, open Dm7-like sonorities.
• Emphasizing Dissonance: Chords that intentionally include the G# will create the signature tension of this tuning. Experiment with two- and three-note clusters that highlight these intervals for unique melodic and harmonic effects.
• Open & Suspended Sounds: The D-G-C in the bass can also support suspended sounds, especially if the G# is avoided or carefully integrated.

This tuning is a tool for unique sonic textures, pushing beyond standard harmonic conventions and offering a distinct voice for a composer.

Open String Notes:

• **String 6 (Low E):** D2
• **String 5 (A):** G2
• **String 4 (D):** C3
• **String 3 (G):** G#4
• **String 2 (B):** A3
• **String 1 (High E):** D4

How to Tune Your Guitar:

• **String 6 (Low E):**
  Tune down 2 semitones to D2. (Movement: -2 semitones)
• **String 5 (A):**
  Tune down 2 semitones to G2. (Movement: -2 semitones)
• **String 4 (D):**
  Tune down 2 semitones to C3. (Movement: -2 semitones)
• **String 3 (G):**
  Tune up 1 semitones to G#4. (Movement: +1 semitone)
• **String 2 (B):**
  Tune down 2 semitones to A3. (Movement: -2 semitones)
• **String 1 (High E):**
  Tune down 2 semitones to D4. (Movement: -2 semitones)

**Important Note on String Gauge:** Guitar strings are designed for specific tension ranges. While all the individual string movements in this tuning (ranging from -2 to +1 semitones) are generally considered within safe limits for a standard gauge set, always tune slowly and carefully. For tunings that involve movements exceeding 4 semitones up or down (e.g., -5, +5), it is generally advisable to consider using a different string gauge to avoid excessive stress on the string or instrument and to maintain optimal intonation.