Tuning Analysis: Dissonant Octave Split

This unique 7-string guitar tuning, originally named "Current dissotuning" by its creator, is a truly experimental and unconventional setup. It's designed to explore a soundscape far removed from traditional harmony, focusing on tension, wide melodic jumps, and dissonant intervals.

Technical Breakdown:

• Instrument: 7-String Guitar
• Original Description: "Made it up. 6 half steps in the low notes, minor thirds in the high notes."
• Open String Notes (from thickest to thinnest, low to high string number):
  • String 7: G1
  • String 6: C#3
  • String 5: G2
  • String 4: C#4
  • String 3: E3
  • String 2: G3
  • String 1: A#4

Verbal Analysis & Harmonic Potential:

The most striking feature of the Dissonant Octave Split is its highly disjunct nature. Unlike conventional tunings that facilitate easy chord shapes, this setup creates extreme intervals between adjacent strings, demanding a different approach to playing. For instance, the jump from String 7 (G1) to String 6 (C#3) is a massive 30 semitones (an augmented fourth plus two octaves), while String 6 (C#3) then drops dramatically to String 5 (G2).

The tuning's core harmonic identity revolves around the tritone (G to C#), which appears across multiple octaves, alongside minor third relationships in the higher register. The open strings, when strummed together, yield a highly dissonant cluster, containing elements of a G Augmented triad (G, C#, E) or an E Diminished triad (E, G, A#).

Traditional major or minor open chords are largely absent. Instead, players will find opportunities for:

• Drones and Textures: The wide intervals and dissonant character are ideal for creating ambient soundscapes, industrial textures, or experimental sound design.
• Fragmented Melodies: Focusing on individual strings or small groups of adjacent strings (e.g., Strings 3, 2, 1 with E3, G3, A#4 forming an E diminished triad) can yield unique melodic and arpeggiated figures.
• Augmented and Diminished Voicings: The inherent G-C# relationship lends itself to exploring augmented sonorities, while the high strings easily form diminished structures (E3-G3-A#4).
• Two and Three-Note Chords: Rather than full voicings, this tuning encourages exploration of dissonant intervals and close clusters, often achieved by fretting notes within a narrow range on one or two strings.

This tuning is best suited for adventurous guitarists looking to break free from conventional harmony and explore new sonic territories.

How to Tune:

To achieve the Dissonant Octave Split tuning, you will need to adjust each string as follows:

• String 7 (Lowest): Begin with the string tuned to approximately B1. Tune down 4 semitones to reach G1. This is a significant drop; ensure your string gauge can handle the slack for stable tuning and playability.
• String 6: Begin with the string tuned to approximately E3. Tune down 3 semitones to reach C#3.
• String 5: Begin with the string tuned to approximately A2. Tune down 2 semitones to reach G2.
• String 4: Begin with the string tuned to approximately D4. Tune down 1 semitone to reach C#4.
• String 3: Begin with the string tuned to approximately G3. Tune down 3 semitones to reach E3.
• String 2: Begin with the string tuned to approximately B3. Tune down 4 semitones to reach G3. This is a considerable drop; a lighter gauge string might be beneficial for stable tuning and playability if this is its new standard pitch.
• String 1 (Highest): Begin with the string tuned to approximately E5. Tune down 6 semitones to reach A#4. Tuning down 6 semitones is a very significant change; consider using a much lighter gauge string for this if you intend to keep it at A#4.

Important String Gauge Considerations:

This tuning involves several substantial downward adjustments for all strings. When tuning a string down by more than 4 semitones, or even 3-4 semitones from its original intended pitch, it is generally advised to use a different gauge string. Significant drops can lead to very loose string tension, poor intonation, and potential fret buzz. Conversely, tuning up more than 4 semitones is dangerous and should always be avoided without a heavier gauge string to prevent breakage and damage to the instrument. Always ensure your instrument is properly set up for such drastic tuning changes.