Verbal & Technical Analysis

This unique Guitar tuning, aptly named C#m11, sprung from a moment of creative experimentation. Its developer described it as just "screwin around with open E", highlighting an organic, exploratory approach to its creation. The result is a rich, complex open tuning that offers distinct sonic possibilities.

Technical Breakdown:

• Chordal Voicing: The open strings—C#3, B2, E3, F#4, B3, E4—create a captivating soundscape. When strummed together, these notes strongly imply a C# minor eleventh chord (C#m11), specifically C#m11(no5). The presence of the root (C#), minor third (E), minor seventh (B), and eleventh (F#) makes for a sophisticated harmony. The perfect fifth (G#) is not present in the open strings, which can lend an open, less dense quality, or invite the player to easily add it or other extensions with fretting.
• String Redundancy & Octaves: A notable characteristic is the strategic repetition of notes across different octaves. You have two B strings (B2 and B3) and two E strings (E3 and E4), each an octave apart. This setup naturally enhances resonance and sustain, providing a lush, full sound and making it intuitive to play octaves and harmonies. Interestingly, the high B and E strings remain in standard tuning, potentially offering a familiar anchor point for players transitioning from EADGBe.
• Intervalic Relationships: The unique spacing between strings, such as the perfect fourths between B2-E3 and B3-E4, and the low C# giving a strong minor root, creates compelling intervallic relationships. These intervals contribute to the tuning's distinctive voice and offer new harmonic pathways for composition and improvisation.

Playing Potential:

• Open Chord Richness: Simply strumming all open strings yields a beautiful C#m11(no5) chord, perfect for atmospheric passages, introspective ballads, or even progressive and experimental genres.
• Modal & Blues Flavors: The inherent minor tonality combined with the 7th and 11th creates an excellent foundation for blues, jazz, and various modal explorations, particularly in keys such as C# minor or E major.
• Accessible Chord Shapes:
  • Barring all strings at the 1st fret will produce a Dm11(no5) chord, offering a simple way to transpose the open chord.
  • Similarly, a barre at the 4th fret would provide an F#m11(no5).
  • The identical open B and E strings (octave apart) greatly simplify playing melodies, harmonies, and power chords in the higher register. Many rich, extended minor chords can be formed with minimal finger movement.

How to Tune Your Guitar to C#m11

To convert your guitar from standard EADGBe tuning to C#m11, follow these specific string adjustments. Pay close attention to the number of semitones and the direction of tuning.

• 6th String (Low E): Tune down 3 semitones from E2 to C#3. This is a significant drop in pitch, so be mindful of string tension. While not exceeding the common recommendation for a different gauge string, it may feel looser than usual, and a heavier gauge could be beneficial for tone and playability.
• 5th String (A): Tune up 2 semitones from A2 to B2.
• 4th String (D): Tune up 2 semitones from D3 to E3.
• 3rd String (G): Tune down 1 semitone from G3 to F#4. Note that while the pitch moves down one semitone (from G to F#), the target note F#4 is an octave higher than a simple F#3 resulting from this movement.
• 2nd String (B): Keep as is; no change (0 semitones) from B3 to B3.
• 1st String (High E): Keep as is; no change (0 semitones) from E4 to E4.

• 6th String: C#3 (C sharp in the 3rd octave)
• 5th String: B2 (B in the 2nd octave)
• 4th String: E3 (E in the 3rd octave)
• 3rd String: F#4 (F sharp in the 4th octave)
• 2nd String: B3 (B in the 3rd octave)
• 1st String: E4 (E in the 4th octave)