Verbal Analysis:

The Open Cmaj7-5 tuning is a highly distinctive and harmonically rich setup, designed for players seeking unique textures and atmospheric soundscapes. As its name suggests, the open strings approximate a C Major 7th chord with a flattened fifth (F#), creating a sound that is simultaneously resonant, complex, and gently dissonant. This isn't a tuning for conventional strumming; rather, it invites exploration and intricate melodic work. The presence of two B notes an octave apart, coupled with C, E, and F#, establishes a deep, often melancholic or ethereal foundation. It's particularly well-suited for genres like alternative, ambient, jazz fusion, or experimental music, where its unique harmonic tension can be fully exploited. The tuning aims to leverage an 'Open B' feel while minimizing fret shifts for scalar playing, suggesting a design focused on melodic fluidity around a foundational drone.

Technical Analysis:

The open notes of this tuning, from low to high, are B1, F3#, B2, E3, C4, E4. When these notes are stacked, they clearly outline the Cmaj7-5 chord (C, E, F#, B). Although the lowest note is B, it functions as the major seventh of C, providing a clear inversion. The tuning features an octave pairing of B notes (strings 6 and 4: B1 and B2), which can create a powerful resonance or drone effect. The interval relationships between adjacent strings are:

• String 6 (B1) to String 5 (F3#): This is an unconventional leap across octaves, creating a very wide interval. This placement contributes significantly to the unique voicing of the Cmaj7-5 chord.
• String 5 (F3#) to String 4 (B2): A diminished fourth (or augmented third, depending on context).
• String 4 (B2) to String 3 (E3): A perfect fourth.
• String 3 (E3) to String 2 (C4): A minor sixth (or inverted major third).
• String 2 (C4) to String 1 (E4): A major third.

This non-linear melodic progression across strings fosters unique arpeggio and voicing opportunities that deviate significantly from standard tuning. The open C, E, F#, B combination provides a ready-made harmony that can be transposed by barring, but its true potential lies in exploiting the specific intervals for chord fragments, drones, and melodic lines. The absence of a perfect fifth (G) reinforces the 'diminished fifth' character.

Chordal Possibilities:

The open tuning itself presents a rich Cmaj7-5 chord. Barring across any fret will transpose this complex voicing up or down the neck. Beyond full barring, the unique intervals make certain chord shapes particularly accessible:

• Cmaj7-5 (Open): The full open chord provides the base.
• Open Power Chords/Octaves: The B1-B2 octave on strings 6 and 4 is excellent for powerful low-end drones. Adding the E3 (string 3) creates a Bsus4 sound (B-E-B).
• Upper Voicings: Strings 2 and 1 (C4, E4) form a major third, making it easy to build C major triads or extensions on the higher strings.
• Lydian or Altered Sounds: The F# in relation to C and B opens doors for Lydian-esque sonorities or chords derived from altered scales, offering a bright yet tense quality.
• Unique Arpeggios: The wide and irregular intervals between strings encourage distinct arpeggiated patterns that would be impossible in standard tuning.

This tuning rewards experimental playing and a deeper understanding of harmonic relationships beyond conventional chord shapes.

Tuning Notes:

Here are the notes for each string in this Open Cmaj7-5 tuning, from the lowest (6th) to the highest (1st):

• String 6 (Low E string): B1
• String 5 (A string): F3#
• String 4 (D string): B2
• String 3 (G string): E3
• String 2 (B string): C4
• String 1 (High E string): E4

How to Tune:

To achieve the Open Cmaj7-5 tuning from standard EADGBe, follow these precise string adjustments. Remember to always tune carefully, especially when making large changes. For string movements exceeding 4 semitones up or down, a different string gauge is generally recommended to ensure optimal tension and prevent damage.

• String 6 (Low E): Tune down 5 semitones to reach B1. *Caution: Tuning down 5 semitones is a significant change, and a heavier gauge string is advised for optimal performance and tension.*
• String 5 (A): Tune down 3 semitones to reach F3#.
• String 4 (D): Tune down 3 semitones to reach B2.
• String 3 (G): Tune down 3 semitones to reach E3.
• String 2 (B): Tune up 1 semitones to reach C4.
• String 1 (High E): Keep as is; no change (0 semitones) to remain at E4.