Verbal Analysis:

This tuning, aptly named "Dmaj7 Split Octave," offers a uniquely expansive and shimmering sound, perfectly suited for the intricate melodic and harmonic textures found in genres like math-rock, twinkle, and emo. Its most striking feature is the dramatic octave shifts, particularly on the B and high E strings, which create an unusually wide tonal palette. The low D and A provide a solid, resonant foundation, while the higher strings introduce bright, open harmonies and unexpected, almost bell-like voicings. This tuning encourages open-string arpeggios and intricate fingerpicking, allowing chords to ring out with a rich, complex resonance that is both familiar and strikingly fresh. The blend of low, resonant tones and extremely high, piercing notes creates a captivating, almost ethereal quality, making it ideal for creating atmospheric soundscapes and emotionally charged melodies.

Technical Analysis:

Based on the target notes D2-A2-E3-A3-B2-C5#, this tuning essentially creates an open D major 7th chord with an added 9th (E) and a doubled 5th (A), but interestingly, it omits the 3rd (F#).

• Root and Fifth Foundation: The 6th (D2) and 5th (A2) strings establish a strong D power chord, providing a deep, resonant base, akin to Drop D tunings.
• Added 9th: The 4th string (E3) introduces the 9th of D, adding brightness and harmonic richness.
• Doubled Fifth: The 3rd string (A3) reinforces the 5th, maintaining harmonic stability.
• Dramatic Octave Shift (String 2): The 2nd string is tuned to B2, an entire octave below its standard B3 pitch. This creates a deep, resonant major 6th interval relative to the D root, and a very wide interval with the notes above it. This extreme drop necessitates a heavier gauge string for optimal tension and tone.
• Extreme High Register (String 1): The 1st string is tuned to C5#, providing the major 7th. This note is exceptionally high, creating a chiming, almost crystalline top end. This extreme tuning might require a lighter gauge string or special considerations for string tension, especially if it's achieved from a standard E4.
• Open Chord Voicings: The open strings D-A-E-A-B-C# lend themselves to immediate open voicings that are inherently complex and beautiful. A Dmaj7(add9) without the 3rd is the most direct chord available. The wide spread of notes (especially the low B2 and high C5#) allows for very open, piano-like voicings and arpeggios across the neck.
• Chordal Opportunities:
  • Open Dmaj7(add9) (no 3rd): Simply strumming all open strings yields this rich, ethereal chord.
  • Sus Chords: By fretting the 3rd string at the 2nd fret (B) or 5th fret (D), you can explore Dsus2 and Dsus4 variations.
  • Minor Chords: To achieve a D minor, you would need to fret an F natural (minor 3rd) on one of the open strings, which might require some finger stretching or partial voicings.
  • Arpeggio Potential: The open string structure is fantastic for intricate arpeggiated patterns, which will ring out with clarity due to the wide intervals.

Tuning Notes:

• String 6 (Low E): D2 (One whole step down from standard E2)
• String 5 (A): A2 (Remains at standard A2)
• String 4 (D): E3 (One whole step up from standard D3)
• String 3 (G): A3 (One whole step up from standard G3)
• String 2 (B): B2 (An entire octave down from standard B3)
• String 1 (High E): C5# (Three semitones down from standard E4, but resulting in an extremely high C5#)

How to Tune:

When making significant tuning adjustments, especially those exceeding 4 semitones up or down, it is generally recommended to consider a different string gauge to maintain optimal tension and prevent string breakage or intonation issues. Pay close attention to the extreme shifts on the B and high E strings.

• String 6 (Low E): Tune down 2 semitones from E2 to reach D2.
• String 5 (A): Keep as is; no change (0 semitones) from A2 to stay at A2.
• String 4 (D): Tune up 2 semitones from D3 to reach E3. (Caution: This is a noticeable upward shift. Consider string gauge.)
• String 3 (G): Tune up 2 semitones from G3 to reach A3. (Caution: This is a noticeable upward shift. Consider string gauge.)
• String 2 (B): Tune down 12 semitones from B3 to reach B2. (Extreme Drop: This is an entire octave down. A heavier gauge string is strongly advised for proper tension and playability.)
• String 1 (High E): Tune down 3 semitones from standard E4. The target pitch for this string is C5#. (Extreme Note: While the instruction is to tune down 3 semitones from E4, which would typically yield C#4, the target note specified is C5#. This C5# is an entire octave higher than C#4 and is exceptionally high for a guitar string. Achieving C5# from a standard E4 would generally require tuning *up* 10 semitones, not down 3. Please exercise extreme caution and consider string gauge carefully, as this may indicate a highly specialized setup or a potential data discrepancy.)