Tuning Analysis: Cmaj7/B Tuning (Alternate)

This intriguing 'Cmaj7/B Tuning (Alternate)' is a distinctive setup used by San Diego musician Nathan Tom in his underground compositions. It's not merely an alternative tuning; it's a carefully crafted soundscape designed to evoke a specific atmospheric and harmonic character. The tuning immediately strikes with a rich, full-bodied Cmaj7 chord with a B in the bass when all open strings are played.

Verbal & Harmonic Analysis

At its heart, this tuning creates a deep, resonant, and somewhat melancholic or introspective quality, largely due to the exceptionally low B1 on the 6th string and the inherent lushness of a C major 7th chord. The open strings, B1-G2-C3-G3-B3-E4, reveal a beautifully voiced Cmaj7/B, making it an excellent platform for ambient textures, jazz-infused melodies, or progressive fingerstyle pieces. The presence of the B in the bass adds a subtle tension and sophistication, pulling the listener into a complex harmonic space.

On the higher strings, G3-B3-E4 forms an Em triad (E-G-B), which is closely related to Cmaj7. This allows for easy access to melodic ideas and upper extensions that complement the open chord. This combination facilitates both rich harmonic pads and clear, singing melodic lines. Due to the significant drop-tuning on the lower strings, the tuning lends itself well to drone playing and unique chord shapes that would be impossible or difficult to achieve in standard tuning. Standard CAGED system shapes will largely be unavailable, encouraging players to explore new voicings and melodic patterns.

Technical Analysis

Compared to standard EADGBe tuning, this setup involves significant alterations, particularly on the lower strings. The intervals between the open strings are:

• String 6 (B1) to String 5 (G2): Minor 6th
• String 5 (G2) to String 4 (C3): Perfect 4th
• String 4 (C3) to String 3 (G3): Perfect 5th
• String 3 (G3) to String 2 (B3): Major 3rd
• String 2 (B3) to String 1 (E4): Perfect 4th

This varied interval structure is precisely what gives the tuning its unique character, moving away from the consistent 4ths of standard tuning (with the exception of the G-B string). The open strings naturally form a Cmaj7/B chord (B-C-E-G), providing a lush harmonic foundation. Other open or easily accessible chords include a Cmaj7 (C-G-B-E on strings 4-1) and an Em triad (G-B-E on strings 3-1), offering immediate harmonic tools for composition and improvisation.

How to Tune

To achieve the 'Cmaj7/B Tuning (Alternate)' from standard EADGBe, follow these precise string adjustments:

• String 6 (Low E): Tune down 5 semitones from E2 to B1. (Note: Tuning down 5 semitones is a significant drop. For optimal string tension and tone, consider using a heavier gauge string for this lowest string.)
• String 5 (A): Tune down 2 semitones from A2 to G2.
• String 4 (D): Tune down 2 semitones from D3 to C3.
• String 3 (G): Keep as is; no change (0 semitones) from G3 to G3.
• String 2 (B): Keep as is; no change (0 semitones) from B3 to B3.
• String 1 (High E): Keep as is; no change (0 semitones) from E4 to E4.

Always tune slowly and check your intonation, especially with significant pitch changes.

• String 6: B1
• String 5: G2
• String 4: C3
• String 3: G3
• String 2: B3
• String 1: E4