Verbal Analysis: Dess Tuning

The Dess Tuning is an exceptionally unique and highly experimental guitar setup, designed for unconventional sonic landscapes rather than traditional chordal playing. As suggested by its origin (Deltarune Chapter 2: Lost Girl), it likely serves a specific melodic or atmospheric purpose. This tuning features a dramatically wide pitch range and, most notably, a non-linear arrangement of notes where some lower-numbered strings (physically closer to the floor) ascend to significantly higher octaves than their neighbors, or even higher than strings with a physically higher position on the guitar. For instance, the 2nd string (A#4) is tuned higher than both the 1st (D4) and 4th (D#4) strings, creating an inverted melodic contour. The low D2 and G2 provide a deep, resonant foundation, while the upper strings jump to very high registers, imparting an almost harp-like or piano-like spread of notes. This tuning encourages exploration of arpeggios, dissonant clusters, and intricate melodic lines that leverage its unique harmonic intervals and voicings. It is perfectly suited for ambient soundscapes, modern classical compositions, or experimental genres that seek to push the boundaries of guitar tonality, rather than conventional strumming or blues-rock riffs.

Technical Analysis: Dess Tuning

• Open Notes: D2 - G2 - D#4 - G3 - A#4 - D4 (from low 6th string to high 1st string).
• Pitch Order (ascending): D2 (6th string) < G2 (5th string) < G3 (3rd string) < D4 (1st string) < D#4 (4th string) < A#4 (2nd string). This clearly highlights the non-linear, inverted nature of the tuning, where the physical order of strings does not correspond to a consistent ascending pitch.
• Intervals (from low to high string):
  • 6th to 5th (D2 to G2): Perfect 4th (5 semitones).
  • 5th to 4th (G2 to D#4): Augmented 11th (or compound augmented 4th, 18 semitones). This is a very large leap in pitch.
  • 4th to 3rd (D#4 to G3): Diminished 4th (descending pitch, D#4 is higher than G3 by 8 semitones).
  • 3rd to 2nd (G3 to A#4): Augmented 6th (or compound augmented 1st, 15 semitones). Another significant leap.
  • 2nd to 1st (A#4 to D4): Diminished 5th (descending pitch, A#4 is higher than D4 by 9 semitones).
• Open Chord Voicings: The full open tuning does not readily form a standard, easily recognizable chord. The notes D, G, D#, G, A#, D imply a complex harmonic landscape. While the lowest three strings (D2, G2, G3) present elements of a G major triad (G-D-G), the inclusion of D#4, A#4, and D4 creates a highly spread and often dissonant cluster in the full open voicing. It could be interpreted as a D major chord with a raised 9th (D#, enharmonically Eb) and a raised 5th (A#, enharmonically Bb), indicating a desire for chromaticism or specific modal qualities (e.g., Lydian augmented).
• Potential Chords/Shapes & Usage: This tuning's primary strength lies in creating unique melodic and arpeggiated patterns. Players might find themselves fingerpicking specific note combinations or playing single-note lines that traverse the non-linear string pitches. Due to the wide intervals and inversions, familiar chord shapes (e.g., barre chords) will yield highly unusual and often dissonant clusters rather than conventional harmonies, making it challenging for typical rhythm guitar playing.

How to Tune: Dess Tuning

To achieve the Dess Tuning, you will need to adjust your guitar strings from standard EADGBe tuning according to the following instructions. Pay close attention to the semitone adjustments and the target notes. Please be aware of the significant octave jumps for Strings 4 and 2, as this is highly unconventional for a standard guitar setup.

• String 6 (Low E): Tune down 2 semitones from E2 to reach D2.
• String 5 (A): Tune down 2 semitones from A2 to reach G2.
• String 4 (D): Tune up 1 semitone from D3. The intended target note for this string is D#4. Note that tuning up 1 semitone from D3 would typically result in D#3; achieving D#4 would require a significant, full-octave upward adjustment beyond what this semitone movement literally implies from standard.
• String 3 (G): Keep as is; no change (0 semitones) from G3 to remain at G3.
• String 2 (B): Tune down 1 semitone from B3. The intended target note for this string is A#4. Similar to String 4, tuning down 1 semitone from B3 would typically result in A#3; reaching A#4 implies an octave jump beyond the specified semitone movement.
• String 1 (High E): Tune down 2 semitones from E4 to reach D4.

Important Note on String Gauges: For tuning movements exceeding negative 4 or positive 4 semitones from a string's standard pitch, a different gauge string is generally advised to prevent breakage or excessive slack. While the explicit semitone adjustments listed here (from standard EADGBe) are relatively small for most strings, the target notes for String 4 (D#4) and String 2 (A#4) are significantly higher in pitch (an octave or more) than what a simple 1 semitone adjustment from their standard counterparts would typically yield. Achieving these high notes reliably and safely often requires very light gauge strings and a guitar setup specifically for such high tensions. Exercise extreme caution and listen to your strings when attempting these octave jumps, as they may put considerable stress on your instrument.