Verbal Analysis: The Dmaj7 Noodler

This unique tuning, aptly described by its creator as ideal for "general noodling," is a fascinating variation on the popular Open D tuning. By lowering the 4th string from D to C#, it transforms the fundamental open chord from a straightforward D Major to a rich and evocative D Major 7th. This immediately creates a sophisticated, slightly jazzy, or even melancholic open sound when strummed.

The tuning offers a full Dmaj7 chord across the open strings: D2-A2-C#4-F#4-A3-D4. The lowest two strings provide a strong D-A root-fifth foundation, perfect for drone notes or powerful bass lines. The higher strings, D4 and A3, reinforce the root and fifth of the chord, adding sparkle and sustain. This configuration naturally lends itself to slide guitar, open string arpeggios, and expressive melodic playing, especially in the key of D major or its relative minor.

However, a very distinctive characteristic of this tuning is the relationship between the 3rd string (F#4) and the 2nd string (A3). The 2nd string is tuned to A3, which is an octave below the expected A4 and, crucially, a minor 6th *below* the F#4 on the 3rd string. This creates a highly unconventional pitch inversion where the pitch descends between the 3rd and 2nd strings. This means standard chord shapes will be completely reoriented, requiring a fresh approach to the fretboard. It might be challenging for conventional strumming but could unlock unique voicings and experimental textures for fingerstyle or specific melodic lines that leverage this unexpected drop in pitch.

Technical Analysis: D-A-C#-F#-A-D

The tuning notes from low to high are D2-A2-C#4-F#4-A3-D4. This forms an open D Major 7th chord (D-F#-A-C#). The presence of the root (D), major third (F#), perfect fifth (A), and major seventh (C#) across the open strings creates a full Dmaj7 sonority. However, the specific voicing and octave displacements are unconventional. Let's break down the individual string roles and intervals:

• String 6 (D2): The lowest D, serving as the root of the chord.
• String 5 (A2): A perfect fifth above the root, reinforcing the harmonic foundation.
• String 4 (C#4): The major seventh of the Dmaj7 chord. This pitch is two octaves above the A2 on string 5, creating a wide interval.
• String 3 (F#4): The major third of the Dmaj7 chord, a perfect fourth above the C#4.
• String 2 (A3): The fifth of the Dmaj7 chord. Crucially, this note is pitched a minor sixth *below* the F#4 on the 3rd string, breaking the typical ascending pitch pattern of a guitar and introducing a unique sonic texture.
• String 1 (D4): The highest D, acting as another root, a perfect fourth above the A3 and two octaves above the lowest D.

This unique voicing, particularly the descending interval between the 3rd and 2nd string, moves this tuning beyond conventional guitar playing, offering a distinct sound for experimental and 'noodling' approaches as described by its creator.

Open Chords and Possibilities:

• Open Dmaj7: Strumming all strings open yields a full, resonant D Major 7th chord. This is the natural home for this tuning, providing an immediate sophisticated sound.
• Open D Major: By simply fretting the 4th string (C#) up one semitone to D, you can achieve an Open D Major chord (D-A-D-F#-A-D), effectively reverting that string to its Open D tuning state.
• Barre Chords: While traditional barre chord shapes will be significantly altered due to the F#4-A3 inversion, sliding the open Dmaj7 shape up and down the neck will naturally transpose the Dmaj7 chord, allowing for easy access to other Major 7th chords. For example, a barre at the 2nd fret would yield Emaj7, 3rd fret Fmaj7, etc. However, the internal voicing created by the 3rd-2nd string anomaly will remain.
• Drone and Modal Playing: The presence of open D and A strings across multiple octaves makes this an excellent tuning for droning and exploring modal scales rooted in D or A, especially for fingerstyle or slide playing.

How to Tune: From Standard E-A-D-G-B-E

To achieve the Dmaj7 Noodler tuning, follow these steps from standard guitar tuning (E-A-D-G-B-E). Pay careful attention to the specific semitone adjustments for each string:

• 6th String (Low E): Tune down 2 semitones from E2 to D2. This is a moderate drop, well within safe limits for a standard string gauge.
• 5th String (A): Keep as is; no change (0 semitones). It remains A2.
• 4th String (D): Tune down 1 semitone from D4 to C#4. This minor adjustment is simple and safe.
• 3rd String (G): Tune down 1 semitone from G4 to F#4. Another minor, safe adjustment.
• 2nd String (B): Tune down 2 semitones from B3 to A3. A moderate drop, safe for standard string gauges.
• 1st String (High E): Tune down 2 semitones from E4 to D4. This is a moderate drop, safe for standard string gauges.

All string adjustments are within a range of -2 to 0 semitones, meaning a change of string gauge is not strictly necessary for this tuning. However, always exercise caution when adjusting string tension and ensure your instrument can handle the changes.

6th String (Lowest): D2

5th String: A2

4th String: C#4

3rd String: F#4

2nd String: A3

1st String (Highest): D4