Verbal Analysis: The Eerie & Mysterious

Step into a soundscape ripped straight from a dark, brooding film noir, or the intricate, unpredictable rhythm of math rock. This tuning, originally described as a "DMaj9 Tuning" but accurately analyzed as a Dm(maj7)9 Re-entrant Tuning, is designed to evoke an eerie, mysterious, and deeply atmospheric feel. Imagine walking down a deserted alley in the dead of night, where every shadow holds a secret – that's the sonic canvas this tuning paints. Its unique re-entrant nature, where the first string is actually lower in pitch than the second, adds an unexpected twist, creating a distinctive voice that's perfect for complex chord voicings, unsettling arpeggios, and melodies that drift between melancholic and outright spooky.

Technical Analysis: Dm(maj7)9 and Re-entrant Voicings

This sophisticated tuning opens to a rich Dm(maj7)9 chord (D-F-A-C#-E) across its open strings, specifically voiced as D2-A2-E3-A3-C5#-F4. Let's break down the intervals and unique characteristics:

• Root & Fifth Foundation: The lowest two strings (D2-A2) establish a strong D root and its perfect fifth, creating a robust low end.
• Extended Harmonies: The third and fourth strings (E3-A3) introduce the major ninth (E) and reinforce the perfect fifth (A), adding depth to the harmonic structure.
• The Dm(maj7) Core: The first and second strings (F4 and C5#) provide the crucial minor third (F) and major seventh (C#), which together with D and A, form the melancholic yet unresolved D minor-major 7th chord. The E3 serves as the major ninth, adding jazz-like complexity.
• Re-entrant Anomaly: Perhaps the most striking feature is the re-entrant setup: String 1 (F4) is tuned lower in pitch than String 2 (C5#). This creates an inverted melodic contour, where strumming across the top two strings produces a descending pitch rather than the usual ascent. This unique arrangement profoundly impacts melodic phrasing and chord voicings, opening up possibilities for unexpected arpeggios and dense, clustered sounds, especially when the higher C5# rings out above the F4.

Due to the open Dm(maj7)9, many related voicings become easily accessible. Sliding a single finger or bar across the frets will instantly yield various inversions and extensions of D minor and D major chords, with the ever-present major seventh or ninth adding flavor. The consistent perfect fifths on the lower strings (D2-A2, A2-E3) mean power chords and drones are readily available, while the unusual intervals on the higher strings offer ample opportunity for avant-garde textures and dissonant beauty that truly leans into the "math rock" and "noir" aesthetic. Experimentation with open string drones against fretted notes will yield particularly rich and mysterious results.

Open String Notes:

• String 6 (Low E): D2
• String 5 (A): A2
• String 4 (D): E3
• String 3 (G): A3
• String 2 (B): C5#
• String 1 (High E): F4

How to Tune:

To achieve the Noir Dm(maj7)9 Re-entrant Tuning from standard E-A-D-G-B-E tuning, follow these adjustments carefully:

• String 6 (Low E to D2): Tune down 2 semitones.
• String 5 (A to A2): Keep as is; no change (0 semitones).
• String 4 (D to E3): Tune up 2 semitones.
• String 3 (G to A3): Tune up 2 semitones.
• String 2 (B to C5#): Tune up 2 semitones. Please note: While the instruction states to tune up 2 semitones, achieving the target C5# from a standard B3 string actually requires a much larger tension increase (approximately 15 semitones total). This discrepancy implies either a specialized string set is necessary, or the starting pitch for this string is not a standard B3. Proceed with extreme caution and consider using a significantly lighter gauge string if starting from standard B3, as tuning up 15 semitones can severely damage your string or instrument.
• String 1 (High E to F4): Tune up 1 semitone.

General String Gauge Advisory:

For movements exceeding 4 semitones up or down, a different gauge string is generally advised to maintain optimal tension and prevent string breakage or damage to your instrument. While most strings in this tuning are within a safe range, the required change for String 2 from standard B3 to C5# (if it is indeed a 15 semitone jump from standard) is well beyond this recommendation and strongly suggests the use of a significantly lighter gauge string or specialized setup for this particular string to ensure safety and playability.