This unique tuning, which we've named Dmaj13 Open Tuning, lives up to its creator's description of being 'very airy with the low D adding this semi-dark tone.' It offers a rich, expansive soundscape perfect for intricate fingerstyle, ambient textures, or sophisticated chordal work.

Verbal Analysis

When strummed open, this tuning immediately presents a full and complex D Major 13th chord. The low D provides a deep, resonant foundation, while the interplay of the Major 7th (C#), 9th (E), and 13th (B) creates a sophisticated harmonic palette. The 'airy' quality comes from these extended harmonies ringing freely, offering a sense of openness and possibility. The dual C# notes (on strings 4 and 1) contribute to a shimmering resonance, allowing the tuning to sustain beautifully. This tuning is particularly well-suited for genres that benefit from rich, un-muddy chord voicings, such as contemporary folk, acoustic jazz, or ambient soundscapes, where you want chords to breathe and evolve.

Technical Analysis

The open strings of this tuning are configured to form a complete Dmaj13 chord. Breaking down the notes from low to high:

• String 6 (D2): The Root of the chord.
• String 5 (A2): The Perfect 5th.
• String 4 (C#4): The Major 7th.
• String 3 (E3): The Major 9th.
• String 2 (B3): The Major 13th (or Major 6th).
• String 1 (C#5): Another Major 7th, an octave higher than the C# on string 4.

The full open chord is D-A-C#-E-B-C#, comprising the root, 5th, major 7th, 9th, and 13th. This rich voicing means that simply barring across all strings at any fret will instantly yield another Dmaj13-like chord, transposing the entire harmony. For example, a single-finger barre at the 2nd fret transforms it into an Emaj13 chord. This makes it incredibly versatile for easily shifting complex harmonies up and down the neck. The close voicings on the higher strings (E3, B3, C#5) create interesting harmonic clusters and sustain characteristics.

How to Tune

To achieve the Dmaj13 Open Tuning from standard EADGBe tuning, follow these precise string adjustments. All downward movements are safe within standard string gauges, but always tune down slowly to avoid excessive slack or sudden pitch drops.

• String 6 (Low E): Tune down 2 semitones from E to D2.
• String 5 (A): Keep as is; no change (0 semitones), remains at A2.
• String 4 (D): Tune down 1 semitones from D to C#4.
• String 3 (G): Tune down 3 semitones from G to E3.
• String 2 (B): Keep as is; no change (0 semitones), remains at B3.
• String 1 (High E): Tune down 3 semitones from E to C#5.

Note: For tuning changes exceeding 4 semitones up or down, it is generally recommended to consider using a different gauge of string to maintain optimal tension and prevent string breakage or excessive floppiness. All movements for this tuning are within acceptable limits for a standard string set.

String 6: D2

String 5: A2

String 4: C#4

String 3: E3

String 2: B3

String 1: C#5