Tuning Analysis: Open D13no3

This unique tuning, aptly named "Open D13no3," was conceived during a school test, evolving from an initial "DAADCBD" concept. Its creator specifically notes that the original involved a lower 'B' string than an up-tuned 'G' string, highlighting an experimental approach to voicings and string relationships. This personal origin story imbues the tuning with a distinctive, creative spirit, moving beyond conventional open tunings.

Verbal Analysis

The "Open D13no3" tuning presents a fascinating and somewhat melancholic or introspective sound. With its open notes D-A-A-B-C-D, it immediately establishes a D tonal center, enriched by the suspended quality of the B and C. The absence of a major or minor third in the open tuning (the 'no3' part) means it avoids immediate major/minor categorization, leaving it open to interpretation. This ambiguity can be particularly expressive, allowing for suspended or modal sounds that evoke a sense of yearning or gentle tension. Strumming all open strings yields a sound reminiscent of a D minor 7 (add6) or a D13 chord without the third, creating a rich, full, yet uncluttered sonic landscape. This tuning would be excellent for atmospheric soundscapes, fingerstyle pieces that explore open string drones, or blues/jazz fusion where its unique harmonic foundation can shine. It encourages exploration of melodies that lean into the natural intervals present, particularly the tight B-C-D cluster on the higher strings which offers a delicate, almost vocal quality.

Technical Analysis

The open string notes are D2-A2-A2-B3-C4-D4 (from low E to high E string). Let's break down the intervals relative to the lowest D note:

• 6th String (D2): Root
• 5th String (A2): Perfect 5th (P5)
• 4th String (A2): Perfect 5th (P5), an octave above the 5th string (same note, different string tension/timbre)
• 3rd String (B3): Major 6th (M6)
• 2nd String (C4): Minor 7th (m7)
• 1st String (D4): Octave Root (P8)

This configuration explicitly spells out a D minor 7 chord with an added 6th (Dm7(add6)), or as its name suggests, a D13 chord without the 3rd (F#), 9th (E), or 11th (G). The stacked D-A-A in the lower register provides a powerful, resonant foundation. The unique B-C-D cluster on the higher strings creates a tight, almost suspended melodic fragment. The absence of a third makes the open tuning highly versatile; you could easily imply a major 3rd (F#) or a minor 3rd (F) with a single fretted note, giving the tuning both flexibility and a natural, open quality that avoids immediate major/minor clichés.

Chordal Possibilities:

• Open Chord: Dm7(add6) or D13 (no 3, 9, 11). This is the default, rich, and somewhat contemplative sound of the tuning.
• Barre Chords: Barring across any fret will immediately yield variations of this chord shape. For instance, barring at the 2nd fret would give an Em7(add6), or at the 3rd fret, an Fm7(add6). The consistent interval structure allows for easy transposition.
• Close Voicings: The B-C-D on the top three strings is a very tight cluster. Fretting these strings to create other similar close voicings will produce interesting melodic and harmonic textures, potentially useful for intricate fingerstyle or jazzier voicings. For example, moving just the B string up one fret to C would give D-A-A-C-C-D, emphasizing the minor 7th.

How to Tune

To achieve the "Open D13no3" tuning from standard E-A-D-G-B-E, follow these steps:

• 6th String (Low E): Originally E2, tune down 2 semitones to D2. This is a common and generally safe adjustment.
• 5th String (A): Keep as is; no change (0 semitones) at A2. This string serves as a stable anchor.
• 4th String (D): Originally D3, tune down 5 semitones to A2. This is a significant drop. Caution: Tuning down 5 semitones is a substantial change. For optimal string tension and stability, especially if this tuning is used frequently, considering a heavier gauge D string might be advisable.
• 3rd String (G): Originally G3, tune up 4 semitones to B3. Caution: Tuning up 4 semitones places considerable stress on the string. There is an increased risk of string breakage. It is strongly recommended to use a lighter gauge G string for this adjustment and to tune slowly and carefully.
• 2nd String (B): Originally B3, tune up 1 semitone to C4. This is a minor, safe adjustment.
• 1st String (High E): Originally E4, tune down 2 semitones to D4. This is a common and generally safe adjustment.

Always tune slowly and check string tension, especially with larger interval changes, to ensure the longevity of your strings and guitar.