This is a unique and expressive DMaj JossHerreraro tuning for Guitar.

Verbal Analysis

As described by its creator, this tuning aims to replicate an "Open Cmaj with a capo on the 2nd fret," which indeed results in the sounding key of D Major. The specific goal is to facilitate an arrangement for a regional Mexican song, suggesting a desire for particular open voicings or ease of playing in this key. The tuning provides a rich D Major harmony across its open strings, offering a resonant foundation perfect for strumming or fingerstyle arrangements in this key.

Technical Analysis

The open strings are tuned to D2-A2-F#4-A3-D4-F#5 (low to high). This arrangement clearly spells out a D Major chord (D, F#, A) across multiple octaves. The open tuning provides a full D Major triad, making open chords in D Major incredibly resonant and easy to access by simply strumming all open strings. This open voicing is particularly useful for achieving drones and rich harmonic textures.

Due to its Open D Major nature, several chords become readily accessible or simplified:

• D Major: Strumming all open strings.
• Other Major Chords: By barring across a single fret, you can easily create other major chords (e.g., barre at the 3rd fret for F Major, 5th fret for G Major).
• D Sus2 / D Sus4: Minimal finger changes from the open D Major shape can yield these suspensions, adding harmonic interest.
• Minor Chords: D minor (Dm) would require fretting the F# strings down to F, but other minor chords (like Em, Gm, Am) might be simplified with specific fingerings building off the open D shape.

How to Tune

To achieve the DMaj JossHerreraro tuning from standard EADGBe tuning, follow these string adjustments:

• 6th String (Low E): Tune down 2 semitones to D2.
• 5th String (A): Keep as is; no change (0 semitones) at A2.
• 4th String (D): Tune up 4 semitones to F#4. Caution: Tuning up 4 semitones is a significant change. Consider a lighter gauge string if this causes excessive tension or tuning stability issues. Note the F#4 indicates a higher octave than a typical D string tuned up 4 semitones from D3 would usually produce.
• 3rd String (G): Tune up 2 semitones to A3.
• 2nd String (B): Tune up 3 semitones to D4. Caution: Tuning up 3 semitones is a notable increase in tension. Monitor string tension and consider string gauge if needed.
• 1st String (High E): Tune up 2 semitones to F#5. Caution: Note the F#5 indicates a higher octave than a typical E string tuned up 2 semitones from E4 would usually produce. Be mindful of string tension.

Please exercise caution when tuning strings significantly up, especially those exceeding 4 semitones from their standard pitch or resulting in very high octaves like F#4 and F#5, as indicated for the 4th and 1st strings. This may require a different string gauge to avoid breakage or neck tension issues.

The open strings for this tuning are as follows (from low to high):

6th String: D2

5th String: A2

4th String: F#4

3rd String: A3

2nd String: D4

1st String: F#5