The Bruh Tuning, also identified as a variation of a Dmaj9 Tuning, is defined by the open notes A2 D3 F#4 C#5 E4 A4. This tuning aims for an exceptionally bright, high-pitched, and complex open sound, primarily forming a rich Dmaj9 chord with an A in the bass (D, F#, A, C#, E, with the low A as the root). The resulting sound is ethereal, resonant, and full-bodied, making it suitable for ambient soundscapes, intricate fingerstyle pieces, or creating expansive, open voicings that standard tuning cannot easily achieve.

Technical Analysis:

• Intended Open Notes: A2 D3 F#4 C#5 E4 A4 (from low E to high E string).
• Interval Structure: When analyzed based on the intended `tuning_notes`, the intervals between the strings from lowest to highest are P4 (A-D), M3 (D-F#), P4 (F#-C#), m3 (C#-E), P4 (E-A). This specific arrangement creates a distinctive voicing, featuring a wide spread and an intriguing minor third drop from the 3rd to the 2nd string.
• Chordal Implications: The open strings collectively form a Dmaj9 chord with its 5th (A) in the bass, giving it an 'A/Dmaj9' or 'Dmaj9/A' quality. This means the primary notes of D, F#, A, C#, and E are all present and ringing, providing a full, resonant chord without fretting. Chords that utilize open strings will naturally lean into this Dmaj9 harmonic territory, and other chords can be easily found with minimal fretting, especially those built around D major or A minor ideas.
• Extreme Tension Alert: A critical technical observation for this tuning, as defined by its target notes (A2 D3 F#4 C#5 E4 A4), is that it implies an extremely significant upward tuning from standard EADGBe, particularly for the 3rd string (G to C#5) and 4th string (D to F#4). Reaching these target notes would result in exceptionally high string tension, posing a substantial risk to your guitar's neck, bridge, and overall structural integrity. The original `tuning_description` wisely states, "dMAJ9 TUNING I WOULD DOWN TUNE THIS PERSONALLY OR USE A CAPO FROM EAC#G#BE", strongly advising against direct tuning from standard E.

Playing Considerations:

• Given the implied extreme tension, heavy strumming is not advisable. This tuning lends itself better to delicate fingerstyle, arpeggiated patterns, or slide guitar (if suitable string gauge is used).
• The unique open chord provides an excellent foundation for exploring modal harmonies and creating lush, ambient textures.
• To explore this tuning safely, it is highly recommended to follow the advice of using a capo on a guitar tuned to a lower base (e.g., standard tuning with a capo at the 5th fret to achieve A standard, then tuning from there), or employing ultra-light gauge strings specifically designed for high tension tunings, if attempting to reach the high target notes.

How to Tune: Bruh Tuning (Dmaj9 Variant)

IMPORTANT NOTE ON DISCREPANCIES: Please be aware that the `string_movements` provided in the JSON, which detail how to tune from standard EADGBe, lead to different target notes than those listed in the `tuning_notes` for the 3rd and 4th strings. The 'How to Tune' section below strictly follows the `string_movements` instructions, showing the note you will reach from standard tuning. The overall verbal and technical analysis above is based on the *intended* higher octave notes specified in the `tuning_notes`.

Given the significant upward adjustments for *all* strings even following the `string_movements`, extreme caution is advised for your instrument's safety. Tuning directly from standard EADGBe to these `string_movements`' resultant notes will lead to very high string tension. If your goal is to achieve the even higher octave notes listed in `tuning_notes` for strings 3 and 4, specialized extremely light gauge strings and potentially a shorter scale length instrument are essential to prevent severe damage or string breakage.

• 6th String (Low E): Tune up 5 semitones from E to A2. (This matches the A2 in `tuning_notes`. Caution: Significant tension increase. Lighter gauge strings are strongly advised.)
• 5th String (A): Tune up 5 semitones from A to D3. (This matches the D3 in `tuning_notes`. Caution: Significant tension increase. Lighter gauge strings are strongly advised.)
• 4th String (D): Tune up 4 semitones from D to F#3. (Discrepancy: `tuning_notes` specifies F#4, which is an octave higher. Following the 4 semitone movement from D will result in F#3. Caution: High tension; note the octave difference if aiming for F#4.)
• 3rd String (G): Tune up 6 semitones from G to C4. (Major Discrepancy: `tuning_notes` specifies C#5, which is approximately 19 semitones up from G3, not 6. Following the 6 semitone movement from G will result in C4. Attempting to reach C#5 from a G string without specialized very light gauge strings and potentially a shorter scale length is extremely risky and likely to cause string breakage or severe instrument damage. Lighter gauge strings are *essential* even for C4.)
• 2nd String (B): Tune up 5 semitones from B to E4. (This matches the E4 in `tuning_notes`. Caution: Significant tension increase. Lighter gauge strings are strongly advised.)
• 1st String (High E): Tune up 5 semitones from E to A4. (This matches the A4 in `tuning_notes`. Caution: Significant tension increase. Lighter gauge strings are strongly advised.)