This unique guitar tuning, aptly named Open C7M(#11), was popularized by the Philadelphia emo band Panucci's Pizza and featured prominently in their song "Jorge Valez Rookie Card." It's an adventurous and harmonically rich tuning that departs significantly from standard EADGBe, offering a distinct sonic palette.

Verbal Analysis

The Open C7M(#11) tuning creates a lush, complex soundscape when played open. The most striking aspect is the presence of a C major 7 chord with an augmented 11th (F#) in the upper register (strings 4, 3, 2, 1 notes: C, F#, B, E). This combination immediately provides a jazzy, sophisticated, and slightly dissonant quality, characteristic of a Lydian mode sound. The tritone interval between the C3 on the 4th string and the F#4 on the 3rd string is particularly vibrant and creates a sense of tension and release. Coupled with the standard B3 and E4 on the top two strings, this provides a bright, open chime.

The lowest two strings, tuned to D2 and A2, provide a strong, resonant bass foundation. The D2 effectively acts like a drop-D tuning for the lowest string, giving a powerful low end, while the A2 remains standard, anchoring the tuning. The blend of deep, rumbling bass with the bright, harmonically intricate upper strings makes this tuning incredibly versatile for creating rich, ambient textures, as well as driving melodic lines. It encourages a fingerstyle approach to bring out the individual voices, but also lends itself to strummed open chords for an expansive, full sound. Be mindful of the high F#4 on the 3rd string, as this is a very high note for that string and may require a lighter gauge or careful handling.

Technical Analysis

The Open C7M(#11) tuning sets the guitar's open strings to the following pitches, from lowest to highest:

• 6th String: D2
• 5th String: A2
• 4th String: C3
• 3rd String: F#4
• 2nd String: B3
• 1st String: E4

Compared to standard EADGBe tuning (E2-A2-D3-G3-B3-E4), this tuning involves significant alterations on the lower and middle strings, while retaining the familiar top two strings:

• The 6th string is tuned down a full step (2 semitones) from E2 to D2.
• The 5th string remains at standard A2.
• The 4th string is tuned down a full step (2 semitones) from D3 to C3.
• The 3rd string is set to F#4. This represents a very significant pitch increase from standard G3 (approximately 11 semitones up, effectively an octave above F#3). This high tension note contributes significantly to the tuning's bright and chimey character but also requires careful attention to string gauge and instrument tension.
• The 2nd string remains at standard B3.
• The 1st string remains at standard E4.

The open strings, when analyzed as notes D, A, C, F#, B, E, contain the intervals that suggest its name. Specifically, the C (string 4), F# (string 3), B (string 2), and E (string 1) form a Cmaj7(#11) chord (C, E, F#, B). The lower D and A strings provide a rich bass drone, offering harmonic possibilities like a Dsus2 or a powerful open fifth (D-A). The combination of standard intervals on the high strings (B-E is a perfect 4th) with the unique, wide intervals on the lower and middle strings (e.g., C-F# is an augmented 4th) creates a highly expressive and inspiring canvas for composition and improvisation.

Open Chord Possibilities:

• Playing strings 4-1 (C-F#-B-E) yields a clear Cmaj7(#11) voicing.
• Strings 6-5 (D-A) form an open perfect fifth, ideal for powerful bass lines or drones.
• Barring across frets will generate fascinating parallel chord shapes. For instance, barring at the 2nd fret would yield E-B-D-G#-C#-F#, an Emadd9/B sound, demonstrating the ease of finding rich harmonic clusters.
• The tuning's structure allows for easy access to open fifths and fourths by simply barring across certain string sets, while the inherent major 7th and #11 intervals provide a sophisticated tonal character without complex fingerings.

How to Tune to Open C7M(#11)

To achieve the Open C7M(#11) tuning, start from standard EADGBe tuning and adjust each string according to the instructions below. Please proceed with caution, especially with significant changes in pitch.

• 6th String (Low E): Tune this string down 2 semitones from E2 to D2.
• 5th String (A): Keep this string as is; no change (0 semitones). It remains at A2.
• 4th String (D): Tune this string down 2 semitones from D3 to C3.
• 3rd String (G): Tune this string down 1 semitone from G3 to F#3.
• 2nd String (B): Keep this string as is; no change (0 semitones). It remains at B3.
• 1st String (High E): Keep this string as is; no change (0 semitones). It remains at E4.

Important Considerations:

• Most string adjustments in this tuning are relatively minor (2 semitones down or less). However, if you attempt to reach F#4 on the 3rd string as suggested by the tuning's name, please be aware that tuning a standard G string up to F#4 (an octave higher than F#3, an increase of 11 semitones) is an extreme change. This could lead to string breakage, neck damage, or intonation issues. For such a large pitch increase, a significantly lighter gauge string would be essential, or it may not be feasible or safe on a standard guitar setup. Based purely on the provided string movement data, the 3rd string is tuned to F#3.
• Always tune slowly and check your intonation after significant changes.
• If you notice any buzzing or poor intonation, a guitar setup may be beneficial.