This tuning, affectionately referred to as the Kinsella Dm9 Variant, is a creative exploration inspired by the distinctive tunings often employed by artists like Mike Kinsella. As its creator describes, "this is similar to a tuning Mike Kinsella uses, but I was too scared to tune from a C to a D so i left it and think i found something great." This tuning delivers a unique blend of melancholic depth and shimmering brightness, opening up a fresh sonic landscape for guitarists.

Verbal Analysis: The Soundscape

At its core, the Kinsella Dm9 Variant offers a rich, open D minor 9th chord (D-A-C-E) with the lowest four strings. This provides a wonderfully moody and sophisticated foundation, perfect for introspective fingerpicking or resonant strumming. The open fifth string (A) reinforces the D minor harmony, while the highest string, tuned to a remarkably high C5#, introduces a bright, almost ethereal quality. This high C5#, paired with the C3 on the fourth string, creates an interesting harmonic tension – a minor seventh (C) coexisting with a major seventh (C#) an octave higher, offering both melancholic and leading-tone flavors.

The open strings lend themselves beautifully to easy chord voicings. A simple barre across the neck (e.g., at the 5th fret) will instantly produce G minor 9th chords, retaining the rich harmonic structure. The repeating A notes (A2 and A3) also provide excellent drone possibilities. This tuning is ideal for creating expansive soundscapes, intricate melodic lines, and arpeggiated patterns that resonate with a complex, emotional depth. The extreme high C5# suggests a focus on chime-like sounds, harmonics, or melodic leads that cut through the mix.

Technical Analysis: The Structure

The tuning from low E to high E is D2 A2 C3 E3 A3 C5#. Let's break down the intervals relative to the lowest D2:

• 6th String (D2): The root note, providing a deep, resonant foundation.
• 5th String (A2): A perfect fifth above the root, adding power and stability.
• 4th String (C3): A minor seventh above the root, establishing the minor seven tonality.
• 3rd String (E3): A major ninth above the root, adding harmonic sophistication.
• 2nd String (A3): Another perfect fifth, an octave higher than A2, reinforcing the drone and open chord sound.
• 1st String (C5#): A highly unusual and extremely high C# note. Functionally, it acts as a major seventh in relation to D, two octaves above the C3 minor seventh. This creates a Dm9 chord (D-A-C-E) with a doubled 5th (A) and a very high major 7th (C#). The presence of both C and C# in different octaves within the open tuning offers unique harmonic color.

The overall harmonic implication of the open strings is a Dm9 chord with an added major seventh (C#), suggesting a sound closer to D minor-major nine (Dm(maj9)) but with the standard minor seventh C also present in a lower octave. This juxtaposition provides a rich and complex harmonic palette.

How to Tune (from Standard EADGBe)

Please note that tuning changes, especially significant ones, should be done gradually and carefully. The first string (high E) is tuned to an exceptionally high C5#, which may require a lighter gauge string than standard to prevent breakage or excessive tension.

• 6th String (Low E): Tune down 2 semitones to D2.
• 5th String (A): Keep as is; no change (0 semitones) at A2.
• 4th String (D): Tune down 2 semitones to C3.
• 3rd String (G): Tune down 3 semitones to E3.
• 2nd String (B): Tune down 2 semitones to A3.
• 1st String (High E): Tune down 3 semitones to C5#. Caution: Achieving C5# from a standard E4 string by tuning down 3 semitones is acoustically impossible. This string's target note (C5#) is extremely high and likely requires a different gauge string than a standard high E string, or assumes a starting point much higher than E4. Proceed with extreme care. Movements exceeding 4 semitones (positive or negative) generally suggest the need for a different string gauge to maintain proper tension and avoid damage.