This unique tuning, aptly described by its creator, is an experimental setup designed specifically to challenge conventional harmony and, perhaps, to playfully 'annoy' listeners. Originally conceived with microtonal adjustments (half a semitone up for the low E and G# strings) to further enhance its unconventional sound, this standard notation presents the closest approximation without microtones.

As its name suggests, traditional chord shapes are likely to yield jarring and dissonant results, making it an excellent choice for avant-garde music, soundscapes, or compositions that deliberately avoid melodic resolution and embrace discord. It encourages players to abandon familiar patterns and explore new, unsettling sonic territories.

Technical Analysis

• The open strings of this tuning are: D#3, E2, G#3, E3, C4, D4.
• Arranged by pitch, the notes are: E2, D#3, E3, G#3, C4, D4.
• The intervals between adjacent strings are exceptionally wide and varied, creating immediate tension:
  • String 6 (D#3) to String 5 (E2): A remarkable drop of 11 semitones. This creates a minor second clash between the E2 and D#3 across an octave.
  • String 5 (E2) to String 4 (G#3): A massive leap of 16 semitones (an octave and a major third).
  • String 4 (G#3) to String 3 (E3): A descent of 4 semitones (a major third).
  • String 3 (E3) to String 2 (C4): An ascent of 8 semitones (a minor sixth).
  • String 2 (C4) to String 1 (D4): A standard ascent of 2 semitones (a major second).
• The overall open string collection presents a highly dissonant cluster, including multiple minor second intervals (E-D#, D-D#), which are inherently unstable and contribute significantly to its 'terrible chord' reputation.
• However, an interesting observation is the presence of a C Augmented triad (C-E-G#) directly available on strings 2, 3, and 4 (C4, E3, G#3 respectively). This augmented chord, known for its tension and lack of diatonic resolution, perfectly aligns with the tuning's intended 'annoying' character. While standard major or minor chords will be difficult to form, exploring arpeggios and voicings around this augmented structure could yield unique, unsettling textures.
• The widely varied intervals between strings will necessitate a complete rethinking of fretboard navigation, making it a challenging but rewarding tuning for experimental players.

How to Tune (from Standard EADGBe)

Please exercise caution, especially with significant pitch changes. For movements exceeding 4 semitones up or down, considering a different string gauge is advisable to maintain optimal tension and prevent string breakage.

• String 6 (Low E) to D#3: Tune down 1 semitone.
• String 5 (A) to E2: Tune down 5 semitones. (Please consider using a heavier gauge string for this significant drop to prevent floppiness.)
• String 4 (D) to G#3: Tune down 6 semitones. (Please consider using a heavier gauge string for this significant drop to prevent floppiness.)
• String 3 (G) to E3: Tune down 3 semitones.
• String 2 (B) to C4: Tune up 1 semitone.
• String 1 (High E) to D4: Tune down 2 semitones.

String 6: D#3

String 5: E2

String 4: G#3

String 3: E3

String 2: C4

String 1: D4