Tuning Overview

The Cmaj7 Open Sus2 tuning creates a rich harmonic landscape built around a C major seventh chord with an added suspended second (D). It is cleverly designed with a C power chord (C-G-C) forming the foundation on the lower strings, while the upper strings resolve into a G major triad (D-G-B). This unique construction, as described in its original context, makes it remarkably fluid for transitions between C and G tonalities, offering a versatile palette for songwriting and improvisation.

Verbal Analysis

This tuning is incredibly expressive and lends itself beautifully to open-string strumming, creating a full, resonant sound that feels both familiar and fresh. The combination of the C power chord in the bass and the G major triad on top gives it a majestic, open quality. It's particularly well-suited for acoustic folk, ambient soundscapes, and even heavier styles where open, ringing chords are desired. Players will find that arpeggios across the open strings create a dreamy, suspended sound, while simple barre shapes can unlock a wealth of harmonious chords. The inherent ease of moving between C and G chords means less complex fingerings for common progressions, allowing for more focus on melody and rhythm.

Technical Analysis

The open strings are tuned to C2-G2-C3-D3-G3-B3. Let's break down the harmonic structure:

• The lowest three strings (C2, G2, C3) form a powerful C5 chord, providing a strong, fundamental bass.
• The middle two strings (D3, G3) introduce a D and G, which against the C root, form a suspended second (D) and a perfect fifth (G).
• The highest string (B3) completes the C major seventh harmony.

Collectively, the open tuning presents a Cmaj7(add9) or Cmaj7(sus2) chord (C-G-C-D-G-B). This provides a rich, complex harmony without any fretting. Additionally:

• Open Cmaj7(add9): All six strings strummed open produce a full Cmaj7(add9) chord.
• G Major Triad: The D3-G3-B3 strings (4th, 3rd, 2nd) form an open G major triad, making G chords easily accessible.
• C Power Chord: The C2-G2-C3 strings (6th, 5th, 4th) form a robust C power chord.

Chords that are naturally within reach include various voicings of C and G chords by simply adjusting the bass notes or barring. The unique intervallic relationships also invite exploration of modal playing, especially in C Lydian or G Mixolydian. Players can also explore various inversions of C and G chords by simply barring across certain frets.

How to Tune

To achieve the Cmaj7 Open Sus2 tuning from standard E-A-D-G-B-E, you will need to adjust several strings significantly. Please exercise caution, especially with the larger downward movements, as they may require a lighter gauge string set for optimal tension and intonation.

• 6th String (Low E): Tune from E2 down to C2. This requires tuning down 4 semitones. Caution: Significant change.
• 5th String (A): Tune from A2 down to G2. This requires tuning down 2 semitones.
• 4th String (D): Tune from D3 down to C3. This requires tuning down 2 semitones.
• 3rd String (G): Tune from G3 down to D3. This requires tuning down 5 semitones. Caution: Significant change. Consider lighter gauge.
• 2nd String (B): Tune from B3 down to G3. This requires tuning down 4 semitones. Caution: Significant change.
• 1st String (High E): Tune from E4 down to B3. This requires tuning down 5 semitones. Caution: Significant change. Consider lighter gauge.

Important Note on String Gauge: Several strings require tuning down 4 or 5 semitones. When tuning down more than 4 semitones (or up), it is generally recommended to use a different gauge string to maintain proper string tension, intonation, and playability, and to prevent potential damage to your instrument or strings.