Tuning Overview: Open Amaj7

This unique tuning, described by its creator as their own invention, ventures into an experimental harmonic landscape. While named "Open Amaj7," it offers a far more intricate and potentially dissonant open chord than a traditional A Major 7th, making it ideal for those seeking fresh sonic textures and unconventional voicings.

Verbal Analysis

The "Open Amaj7" tuning feels less like a straightforward chord and more like a carefully crafted soundscape. The significant detuning across all strings (many by 4 semitones) will result in a much looser string tension and a darker, more resonant timbre, especially with standard string gauges. This tuning is likely to inspire unique melodic lines and chord voicings that break away from conventional patterns. Its custom nature suggests it's a playground for exploration, encouraging players to discover new harmonic relationships rather than relying on familiar shapes. Expect a rich, potentially moody or atmospheric sound, with unexpected harmonic interactions. It demands an open mind and a willingness to explore dissonances as much as consonances.

Technical Analysis

The open strings are tuned to:

• String 6: C2
• String 5: F2
• String 4: C#4
• String 3: E3
• String 2: G#4
• String 1: C4

While the tuning's name, "Open Amaj7," points towards an A Major 7th chord (A, C#, E, G#), the actual open string configuration presents a fascinating deviation. Strings 4, 3, and 2 (C#4, E3, G#4) indeed form an A major triad (C# is the major third, E is the perfect fifth, G# is the major seventh relative to an implied A root). However, the lower strings (C2, F2) and the highest string (C4) introduce complex harmonic tension. The C notes (on strings 6 and 1) create a minor third relationship with A, clashing with the C# on string 4, while the F2 (on string 5) adds a tritone or augmented fourth interval, depending on the harmonic context.

This results in a cluster of notes (C, F, C#, E, G#, C) when strummed open, which is far from a simple Amaj7. Instead, it suggests a rich, dissonant quality that could be interpreted as a complex Cmaj7#11add9 or an Fmaj7#11 with extensions and altered notes, or perhaps a unique polytonal voicing. The core A major triad is easily accessible on the middle strings, providing a familiar anchor from which to explore the surrounding tension. Sliding shapes and open string drones will be particularly effective, allowing the dissonant intervals to shimmer and resolve in unexpected ways. Chords that leverage the C# on string 4, E on string 3, and G# on string 2 will instantly resonate with an A major tonality, allowing the surrounding C and F notes to act as compelling extensions or bass textures. Players might find interesting voicings of A minor 7ths, C major shapes, or or even augmented and diminished chords within reach due to the blend of major and minor third intervals present.

Open String Notes

• String 6 (Lowest E-string equivalent): C2
• String 5 (A-string equivalent): F2
• String 4 (D-string equivalent): C#4
• String 3 (G-string equivalent): E3
• String 2 (B-string equivalent): G#4
• String 1 (Highest E-string equivalent): C4

How to Tune

This tuning involves significant detuning across most strings. For optimal tone and string longevity, consider using a heavier gauge string set, especially for strings tuned down 4 semitones or more. Always tune carefully and check your instrument's intonation after making large changes.

• String 6 (Lowest E-string equivalent): Tune down 4 semitones to C2.
• String 5 (A-string equivalent): Tune down 4 semitones to F2.
• String 4 (D-string equivalent): Tune down 1 semitone to C#4.
• String 3 (G-string equivalent): Tune down 3 semitones to E3.
• String 2 (B-string equivalent): Tune down 3 semitones to G#4.
• String 1 (Highest E-string equivalent): Tune down 4 semitones to C4.