Open Emaj7 Tuning Analysis

Verbal Description

Open Emaj7 is a bright and resonant tuning that immediately presents a full E Major 7th chord when strummed open. This creates a rich harmonic foundation, making it ideal for lush arpeggios, melodic fingerpicking, and creating a dreamlike sonic landscape. It was notably used by Mitch Friedland of Springhouse for 'Jerzey's Theme' on The Bandstand project, suggesting its suitability for evocative and atmospheric compositions. The voicing of B2-E3-G#4-D5# provides a wide, open sound with the fifth (B) as the lowest note, giving it a unique character and a strong, defined root when E is considered the tonic.

Technical Analysis

This 4-string tuning comprises the notes B2, E3, G#4, and D5#. When analyzed, these notes precisely form an Emaj7 chord (E - G# - B - D#), with the B2 serving as the 5th, E3 as the root, G#4 as the major 3rd, and D5# as the major 7th. This direct chordal relationship in the open position simplifies playing in E major 7 and related keys. The intervals from low to high are: a perfect 4th from B2 to E3, a major 3rd (plus an octave) from E3 to G#4, and a perfect 5th (plus an octave) from G#4 to D5#. This specific arrangement of intervals allows for easy access to Emaj7 arpeggios and voicings, as well as opportunities for barre chords to transpose the Emaj7 shape to other major 7th chords across the fretboard.

Chords Within Reach

Beyond the open Emaj7, barre chords can be effectively used to transpose this major 7th voicing up and down the neck, allowing for easy access to Fmaj7, Gmaj7, and other major 7th chords. The open strings also provide a strong base for exploring modal playing in E Lydian or E Ionian, given the prominent major 7th interval. While complex minor chords or other dissonant voicings might require more intricate fretting, the inherent major 7th quality of the tuning lends itself well to jazz, ambient, and contemporary folk styles, and can be particularly effective for creating lush soundscapes.

How to Tune

To achieve the Open Emaj7 tuning from its implied standard starting point, carefully adjust each string:

• String 4: Tune up 2 semitones. (From A2 to B2)
• String 3: Tune up 2 semitones. (From D3 to E3)
• String 2: Tune up 1 semitone. (From G4 to G#4)
• String 1: Tune up 4 semitones. (From B4 to D5#) (Caution: Tuning up 4 semitones is a significant increase in string tension. We recommend exercising care during tuning and considering a lighter gauge string for String 1 if this tuning is to be used regularly, to prevent potential string breakage or neck damage.)