Verbal Analysis

The Descending Tuning presents a uniquely experimental soundscape. As its name suggests, most strings are significantly lowered from standard EADGBe, creating a 'slack' and potentially darker feel. The creator notes this is an untried tuning, which speaks to its highly unconventional nature. The open strings E2, G#3, C3, E3, G3, B3 result in a complex and highly dissonant cluster if all strummed together, featuring both a Major 3rd (G#) and a Minor 3rd (G) relative to the root E. This suggests it's not designed for conventional strummed chords but rather for arpeggiated figures, drones, or specific melodic lines that leverage the unique intervals. Traditional chord shapes will be rendered completely unplayable, demanding a fresh approach to the fretboard. This tuning would be excellent for ambient music, experimental textures, or slide guitar where the lowered tension could offer new expressive possibilities. The non-linear ascent in pitch, where the 5th string (G#3) is actually higher than the 4th (C3) and 3rd (E3) strings, creates a particularly unusual fretboard layout that will challenge and inspire creative voicings.

Technical Analysis

This tuning transforms the standard E2 A3 D3 G3 B3 E4 into E2 G#3 C3 E3 G3 B3. The tuning features a standard low E string (String 6), while the subsequent strings are progressively tuned down by 1, 2, 3, 4, and 5 semitones respectively. The most striking technical aspect is the non-monotonic pitch order when moving from lower-numbered strings to higher-numbered strings (from thickest to thinnest). This means the strings are not ordered by ascending pitch in the usual manner. This creates very wide and unusual intervals between adjacent strings, often leading to unexpected harmonic relationships:

• String 6 (E2) to String 5 (G#3): A very wide interval of a Major 3rd + Octave (16 semitones).
• String 5 (G#3) to String 4 (C3): A descending interval, as G#3 is higher in pitch than C3. The pitch difference is a diminished 4th (4 semitones), meaning String 4 is 4 semitones *lower* than String 5.
• String 4 (C3) to String 3 (E3): A Major 3rd (4 semitones).
• String 3 (E3) to String 2 (G3): A Minor 3rd (3 semitones).
• String 2 (G3) to String 1 (B3): A Major 3rd (4 semitones).

How to Tune

To achieve the Descending Tuning from standard EADGBe, follow these string adjustments:

• String 6 (Low E): Tune to E2. Keep as is; no change (0 semitones).
• String 5 (A String): Tune down 1 semitones from A3 to G#3.
• String 4 (D String): Tune down 2 semitones from D3 to C3.
• String 3 (G String): Tune down 3 semitones from G3 to E3.
• String 2 (B String): Tune down 4 semitones from B3 to G3.
• String 1 (High E String): Tune down 5 semitones from E4 to B3. Warning: Tuning a string down by 5 semitones is a significant change in tension. This will likely result in a very loose string, potentially causing buzzing, poor intonation, or affecting tone and playability. A heavier gauge string for this position is strongly recommended to maintain adequate tension.

• String 6: E2 (The lowest string, providing a solid foundation at standard pitch.)
• String 5: G#3 (Tuned down a semitone from A3, this string creates a wide intervallic jump from the low E and is surprisingly higher in pitch than the 4th and 3rd strings.)
• String 4: C3 (Tuned down two semitones from D3, this string introduces a significant pitch drop relative to String 5, creating an unusual reverse interval.)
• String 3: E3 (Tuned down three semitones from G3, this string is an octave higher than the low E string, adding resonance and a major third interval with the open C on String 4.)
• String 2: G3 (Tuned down four semitones from B3, this string creates a minor third with the E3 on String 3 but introduces a dissonant clash with the G#3 on String 5 if both are played.)
• String 1: B3 (Tuned down five semitones from E4, this is the highest note in the tuning and completes an E major triad with the E on String 6 and G# on String 5, although its extreme detuning requires caution.)