Tuning Analysis: DADEBC# (Sun Kil Moon - Trucker's Atlas)

This unique tuning, known as DADEBC#, is notably used by Sun Kil Moon in their track "Trucker's Atlas". It presents a highly idiosyncratic and expressive soundscape, challenging conventional guitar playing while opening doors to distinctive harmonic textures.

Verbal Analysis

The DADEBC# tuning, featuring notes D 3, A2, D3, E3, B3, C 5, offers a remarkably wide and often dissonant sonic palette. The presence of a D 3 as the lowest string immediately sets a tense, dark, and slightly unsettling foundation, deviating from common open tunings centered around a clear root. The open A-D-E on strings 5-4-3 could suggest an A major or D major tonality, but the D 3 below and the B3-C 5 above add considerable complexity.

A striking feature is the extremely high C 5 on the first string. This note is significantly higher than a standard high E string, creating a shimmering, almost bell-like or harp-like quality that can soar above the other strings. This wide range, from the deep D 3 to the piercing C 5, encourages open, sustained notes, drones, and arpeggiated fingerpicking rather than heavy strumming, which could become muddy or overly dissonant. It's a tuning that rewards careful note selection and the exploration of its unique intervallic relationships, perfect for atmospheric, melancholic, or contemplative pieces.

Technical Analysis

Let's examine the intervals and harmonic implications of the D 3, A2, D3, E3, B3, C 5 tuning:

• String 6 (D 3) to String 5 (A2): This is a descending minor sixth (or an augmented fourth/tritone from A2 to D 3). This wide and dissonant interval between the two lowest strings is the primary source of tension and harmonic complexity in the tuning.
• String 5 (A2) to String 4 (D3): A perfect fourth. This is a common and stable interval, often found in power chords and open tunings, providing a grounding element.
• String 4 (D3) to String 3 (E3): A major second (whole step). A relatively close interval that can lead to a sense of melodic movement or gentle dissonance.
• String 3 (E3) to String 2 (B3): A perfect fifth. Another strong, open, and resonant interval that provides harmonic stability.
• String 2 (B3) to String 1 (C 5): This is a massive jump. From B3, C 4 is a major second, so C 5 is a major second plus an octave. This very wide interval creates a striking contrast and brilliant, ringing quality for the highest string.

Open Chords and Reach:

Strumming all open strings (D 3 A2 D3 E3 B3 C 5) produces a highly complex, dissonant chord. It contains elements that could suggest a D-major (D-A-D) or A-major (A-E-B) tonality, but the D 3 and C 5 create strong tensions (D  is an augmented tonic or minor second from D; C  is the major third of A or the sixth of E). This suggests that the tuning is not designed for simple open chord strums, but rather for:

• Partial Chords & Drones: Utilizing combinations of strings, such as the open A2-D3-E3-B3 which forms an Aadd4(no3) or a suspension. The D 3 and C 5 notes can be used as drones or leading tones, adding color and tension.
• Melodic & Arpeggiated Playing: The wide intervals, especially on the first and sixth strings, make this tuning ideal for intricate fingerpicking patterns where individual notes ring out.
• Shifting Shapes: Standard chord shapes will be completely altered. Players will likely discover new, unique voicings by experimenting with simple fingerings that leverage the open strings. For instance, fretting the 5th fret on the low D  string would give an G , creating new harmonic possibilities. The E3-B3 perfect fifth on strings 3 and 2 offers a stable base for movement.

This tuning is a playground for experimental guitarists, favoring a compositional approach that embraces its inherent dissonances and explores its unique textural potential.

Tuning Notes: DADEBC#

The specific notes for this DADEBC# tuning, from the thickest (6th) to the thinnest (1st) string, are as follows:

• String 6: D 3 (D-sharp in the 3rd octave)
• String 5: A2 (A in the 2nd octave)
• String 4: D3 (D in the 3rd octave)
• String 3: E3 (E in the 3rd octave)
• String 2: B3 (B in the 3rd octave)
• String 1: C 5 (C-sharp in the 5th octave)

How to Tune (from Standard EADGBe)

To achieve the DADEBC# tuning based on the provided string movements, starting from standard EADGBe tuning, follow these steps. Please note that the resulting notes from these movements (D 2 and C 4) differ by an octave from the D 3 and C 5 specified in the tuning notes above.

• String 6 (Low E): Tune down 1 semitone from E to D 2.
• String 5 (A): Keep as is; no change (0 semitones) at A2.
• String 4 (D): Keep as is; no change (0 semitones) at D3.
• String 3 (G): Tune down 3 semitones from G to E3.
• String 2 (B): Keep as is; no change (0 semitones) at B3.
• String 1 (High E): Tune down 3 semitones from E to C 4.