The "JimmyJams Gmaj7" tuning, as suggested by its creator, is a creative exploration of chord shapes and open string playability. It deviates significantly from standard tuning to offer a unique sonic landscape, particularly emphasizing a resonant G major 7th tonality with a deep, earthy bass.

Verbal Analysis

This tuning feels rich and full-bodied, with a low B string providing a powerful foundation. The arrangement of the open strings naturally lends itself to a Gmaj7 chord, but with a B as the lowest note, giving it a distinctive inversion character. Strumming the open strings produces a beautiful, resonant chord that immediately suggests a mellow, perhaps jazzy or atmospheric mood. The relative proximity of the G, B, and D notes on the middle strings (D3 G3 B3 D4) makes for easy access to open G, D, and Bm shapes. The dropped low B and high D offer expanded range and allow for droning notes, which can create interesting soundscapes. The unique F#3 on the 5th string, especially if it is indeed F#3 as indicated, adds a bright, shimmering quality that cuts through the lower notes, contributing significantly to the Gmaj7 harmony.

Technical Analysis

The "JimmyJams Gmaj7" tuning sets the guitar strings to the following notes:

• String 6: B1 (Low B)
• String 5: F#3 (F sharp)
• String 4: D3 (D natural)
• String 3: G3 (G natural)
• String 2: B3 (B natural)
• String 1: D4 (High D)

Analyzing the open strings (B1 F#3 D3 G3 B3 D4), we find the notes B, D, F#, G. When arranged, these notes form a G Major 7th chord (G-B-D-F#) with B as the lowest note. Specifically, it presents as a Gmaj7 in its first inversion. This provides a rich harmonic basis for songwriting, making Gmaj7 and related chords easily accessible. The repetition of B and D across different octaves (B1, D3, B3, D4) adds to the density and resonance. The F#3 on the 5th string is notable; typically, an A string (A2) tuned down 3 semitones would yield F#2. If F#3 is indeed the target, it would imply a significantly higher starting string or a very bright, almost piano-like resonance for that particular string, contributing to the tuning's unique voicing.

Chords that become readily available or "within reach" due to this tuning include:

• An open Gmaj7 (B1-F#3-D3-G3-B3-D4).
• Variations of G major and G minor chords with different bass notes.
• D major and D minor chords (D-F#-A or D-F-A) are also simplified due to the presence of D and F# notes.
• B minor (B-D-F#) is naturally formed by the B1, D3, and F#3 strings, allowing for easy access to this minor tonality.
• The open B string provides a natural drone, which can be leveraged for modal playing or atmospheric textures.

How to Tune

This tuning requires significant adjustments from standard EADGBe tuning. Please tune slowly and carefully, especially when decreasing string tension, to avoid string damage or snapping.

• String 6 (Low E to B1): Tune down 5 semitones. This is a substantial drop from the standard E. For optimal tension and tone, especially if playing aggressively, consider using a heavier gauge string for your lowest string.
• String 5 (A to F#3): Tune down 3 semitones. This moves the standard A string to F#3. As noted in the technical analysis, if aiming for F#3 from a standard A2 string, this note will be an octave higher than typically expected from this semitone drop. Ensure your guitar can handle the intended pitch.
• String 4 (D to D3): Keep as is; no change (0 semitones). The string remains D3.
• String 3 (G to G3): Keep as is; no change (0 semitones). The string remains G3.
• String 2 (B to B3): Keep as is; no change (0 semitones). The string remains B3.
• String 1 (High E to D4): Tune down 2 semitones. This moves the standard high E string to D4.

Always re-check your tuning several times, as string tension changes can affect other strings. For any string movement exceeding -4 or +4 semitones, it is generally advised to use a different gauge string to maintain proper intonation, tension, and prevent potential damage to your guitar or strings.