Verbal Analysis

The "Falling for Twelves" tuning, D#GDFA#F, immediately presents itself as a distinctive and atmospheric soundscape, ideal for modern fingerstyle guitar and compositions that venture beyond conventional harmony. This specific tuning is famously utilized in Craig D'Andrea's song "Falling for Twelves." Its unique arrangement, with the 5th string (G2) tuned lower than the 6th string (D#3) and a mix of flats and naturals, creates a rich, open resonance. The tuning avoids simple major or minor open chords, instead offering a canvas for intricate melodies, complex voicings, and evocative drones, inviting the player to explore its depths with an experimental mindset.

Technical Analysis

This guitar tuning is set to D#3 G2 D3 F3 A#4 F4 from the lowest (6th) string to the highest (1st) string. When comparing to standard EADGBe tuning, most strings are tuned down, with the notable exception of the 1st string being tuned up. A key characteristic is the inverted relationship between the 6th and 5th strings, where the 5th string (G2) is lower in pitch than the 6th string (D#3). This non-linear string progression significantly alters the harmonic landscape.

The open strings comprise the notes: D#, G, D, F, A# (which is enharmonically Bb), and a repeated F. This collection of notes (G, D, F, D#, Bb) forms a complex harmony. If we consider G as a potential root, we have a G, D (perfect 5th), F (minor 7th), Bb (minor 3rd), and D# (augmented 4th / minor 6th). This can be interpreted as a G minor 7 chord (G-Bb-D-F) with an added D# (Eb), which creates a strong, often dissonant, tension with the D. The repeated F across the 3rd and 1st strings provides a consistent harmonic anchor.

Potential Chords and Voicings:

• G Minor 7 Approximations: By muting or carefully playing around the D# on the 6th string, the other open strings (G2, D3, F3, A#4, F4) largely form a G minor 7 chord (G-Bb-D-F) with a doubled F. This makes G minor-based harmonies readily accessible.
• Eb Major Tones: The presence of G, D# (Eb), and A# (Bb) provides components of an Eb Major triad (Eb-G-Bb). By fretting the root (Eb) or utilizing the existing notes, Eb-centric harmonies can be explored.
• Dissonant Clusters: The inherent harmonic tension, particularly the D and D# (Eb) relationship, offers fertile ground for modern, dissonant voicings perfect for adding tension and release, often found in contemporary jazz or avant-garde styles.
• Fingerstyle Opportunities: Due to its unique intervals and non-linear structure, this tuning is exceptionally well-suited for intricate fingerstyle patterns, arpeggios, and melodic lines that leverage the sustained resonance of the open strings. Adapting standard barre chords will be significantly challenging and will require re-imagination.

Tuning Notes (Low E to High E String)

String 6: D3#
String 5: G2
String 4: D3
String 3: F3
String 2: A4#
String 1: F4

How to Tune (from Standard EADGBe)

To achieve the D#GDFA#F tuning from standard EADGBe, follow these precise movements for each string:

• String 6 (Low E): Tune down 1 semitone to D#3.
• String 5 (A): Tune down 2 semitones to G2.
• String 4 (D): Keep as is; no change (0 semitones) at D3.
• String 3 (G): Tune down 2 semitones to F3.
• String 2 (B): Tune down 1 semitone to A#4.
• String 1 (High E): Tune up 1 semitone to F4.

Important Tuning Note: All string movements are within safe limits (none exceed 4 semitones up or down), meaning a change in string gauge is generally not required. However, always exercise caution when tuning, especially when increasing string tension (as with string 1).