Verbal Analysis

This tuning, which we've named Open G Minor Drop D#, creates a wonderfully rich, dark, and resonant sound, perfectly suited for exploring melancholic acoustic compositions. As its creator intended, it delivers incredibly low bass notes, anchored by the exceptionally deep D# on the 6th string. The open strings, D#2-G2-A#2-D3-G3-A#3, inherently form a G minor chord across the middle and upper strings (G-A#-D-G-A#), making it incredibly intuitive to achieve immediate, full-bodied minor voicings.

It's particularly well-suited for fingerstyle playing, drone-based music, or exploring modal harmonies, especially in keys related to G minor or E♭ major. The unique, very low D# (E♭) on the thickest string provides a distinctive, often brooding or suspenseful character to the overall sound, laying down a powerful and resonant bass foundation. The creator's observation that it "sounds best using it for the top 3 strings (d#-g-a#)" likely refers to the clear G minor chord (D-G-A# when played as D3-G3-A#3) that emerges, offering a bright contrast or melodic focus.

Technical Analysis

This tuning resolves to D#2-G2-A#2-D3-G3-A#3 from low E (6th string) to high E (1st string). This structure effectively presents an Open G Minor tuning, with the added characteristic of a dropped 6th string to D#2. The notes G, A#, and D form the root, minor third, and perfect fifth of a G minor triad, which is extensively available across the open strings (G2, A#2, D3, G3, A#3). Strumming strings 5 through 1 in the open position yields a full G minor chord.

The 6th string, tuned to D#2 (E♭2), acts as the ♭VI (minor sixth) relative to G, providing a deep, sustained drone that can introduce harmonic tension or a rich, dark texture. This drone note can also be interpreted as the root of an E♭ major chord, providing harmonic flexibility. Due to the open G minor framework, common minor chords like G minor, C minor (e.g., barring strings 5-1 at the 5th fret, adjusting for the low D# drone if desired), and E♭ major will be easily accessible. For instance, a basic G minor chord can be played simply by strumming the open strings from the 5th string upwards. Moving a full barre shape up the fretboard will yield other minor chords based on the interval relationships. The substantial downtuning across most strings, particularly the 4th, 3rd, 2nd, and 1st strings (ranging from -4 to -6 semitones), indicates that players should consider using a heavier gauge string set to maintain adequate string tension, prevent fret buzz, and ensure stable intonation, especially on the highest string which is dropped a full perfect fifth (6 semitones).

How to Tune (from Standard E-A-D-G-B-e)

• 6th String (Low E) – D#2: Tune down 1 semitone from its standard E2. This is a moderate adjustment.
• 5th String (A) – G2: Tune down 2 semitones from its standard A2. This is a moderate adjustment.
• 4th String (D) – A#2: Tune down 4 semitones from its standard D3. This is a significant drop; using a heavier gauge string is advised for optimal tension and playability.
• 3rd String (G) – D3: Tune down 5 semitones from its standard G3. This is a very significant drop; a heavier gauge string is strongly recommended to maintain proper tension and intonation.
• 2nd String (B) – G3: Tune down 4 semitones from its standard B3. This is a significant drop; using a heavier gauge string is advised for optimal tension and playability.
• 1st String (High E) – A#3: Tune down 6 semitones from its standard E4. This is an extreme drop (a perfect fifth); a significantly heavier gauge string is essential for this string to be playable and sound in tune.