This intriguing tuning, known as the Half-Step Joni Mitchell Tuning, is a fascinating adaptation of one of Joni Mitchell's signature open tunings (specifically CGDFCE). By lowering each string by a semitone from its original CGDFCE configuration, the tuning takes on a darker, richer, and more resonant character, offering a distinct sonic palette for exploration.

Technical Analysis:

• Open Notes: The open strings are tuned to B1 F#3 C#4 E3 B3 D#5 (from low to high).
• Interval Structure: The bottom three strings (B-F#-C#) form a powerful B5 (B power chord) or even a Bsus2 feel, providing a strong tonal foundation. The open string configuration itself contains notes B, F#, C#, E, D#. This collection of notes strongly outlines a B major tonality, incorporating the root (B), major third (D#), perfect fourth (E), and perfect fifth (F#), along with the major second/ninth (C#).
• Harmonic Possibilities: Strumming all open strings yields a rich, complex B chord, which could be perceived as a Bmaj(add2,4) or Bmaj9sus4, depending on the listener's interpretation. The presence of the fourth (E) alongside the major third (D#) creates a beautiful, open sus/major sound.

Playability and Chords:

• Open Chords: The open tuning itself is a foundational chord, full of resonance. By simply strumming all six strings, you get a lush B major-based harmony perfect for intros or drone passages.
• Fingerings: This tuning is exceptionally well-suited for fingerstyle playing, allowing the individual voices and unique intervals to ring out clearly. Common chord shapes will be entirely re-voiced, opening up new melodic and harmonic possibilities.
• Moving Shapes: Due to the stacked fifths on the lower strings, simple two-finger or three-finger shapes can easily create movable power chords and suspended harmonies up and down the neck. Barre chords will also take on a new character, likely emphasizing the B major tonality or related modes. For instance, a barre across the 2nd fret would yield a C# chord shape, retaining the intervallic relationships.
• Creative Exploration: This tuning encourages experimentation and is perfect for creating expansive, atmospheric soundscapes. The lowered pitch lends itself to a more mellow and reflective mood, ideal for folk, acoustic, or even alternative rock styles.

Tuning Notes:

String 6 (Low E): B1
String 5 (A): F#3
String 4 (D): C#4
String 3 (G): E3
String 2 (B): B3
String 1 (High E): D#5

How to Tune:

To achieve the Half-Step Joni Mitchell Tuning from standard EADGBe, follow these string movements. Please exercise caution when altering string tension.

• String 6 (Low E): Tune down 5 semitones to B1. (Caution: This is a significant drop of 5 semitones. A different gauge string is advised for optimal tension and playability.)
• String 5 (A): Tune down 3 semitones to F#3. (Note: This is a considerable drop; be aware of the change in string tension.)
• String 4 (D): Tune down 1 semitone to C#4.
• String 3 (G): Tune down 3 semitones to E3. (Note: This is a considerable drop; be aware of the change in string tension.)
• String 2 (B): Keep as is; no change (0 semitones) to B3.
• String 1 (High E): Tune down 1 semitone to D#5.