Tuning Overview: Dm/A#maj9 Mm3

This intriguing tuning, aptly named "Dm/A#maj9 Mm3", offers a deep and harmonically rich soundscape, building on a D minor foundation while incorporating elements of a Bb Major 9 chord. The "Mm3" suffix highlights a distinctive pattern of alternating major and minor thirds across the higher strings, creating unique melodic and harmonic possibilities.

Technical Analysis:

The open strings are tuned as follows: D2 - A#3 - D3 - F3 - A3 - C4.

• The low D2 provides a strong, resonant root, setting a deep foundation for the tuning.
• The 5th string, A#3 (Bb3), introduces a significant interval from the root (a major 6th, or a flat 7th from C). It's pitched notably high for a typical A string, suggesting it will be under very high tension or may require a significantly lighter gauge string if starting from a standard A2.
• The 4th string returns to D3, an octave above the low D, reinforcing the root.
• The higher strings (3rd, 2nd, 1st) form a melodic sequence of F3 - A3 - C4. This specific arrangement reveals the "Mm3" (Minor/Major Thirds) aspect:
• Between D3 (4th string) and F3 (3rd string): a minor third (3 semitones).
• Between F3 (3rd string) and A3 (2nd string): a major third (4 semitones).
• Between A3 (2nd string) and C4 (1st string): a minor third (3 semitones).

Harmonic Potential & Open Chords:

This tuning is exceptionally rich for specific harmonic voicings:

• Dm7(add b6) / Dm7(add13b): The open strings (D - Bb - D - F - A - C) collectively form a D minor 7 chord (D-F-A-C) with an added minor 6th (Bb). This creates a sophisticated, melancholic, and sometimes jazzy sound.
• Bbmaj9 over D: The notes Bb, D, F, A, C are the core components of a Bbmaj9 chord. With the low D as the root, this tuning effectively allows for a Bbmaj9 chord to be voiced with D in the bass, offering rich, extended harmonies. Strumming all open strings will yield a beautiful, complex chord.
• Easy Open Voicings: The compact nature of the top three strings (F-A-C) makes it easy to create triads and inversions. Barring across these strings at various frets will yield recognizable major and minor chords due to the consistent minor-major-minor third intervals. For example, barring at the 1st fret (G-Bb-Eb) or 2nd fret (G#-B-E).
• Drone Opportunities: The doubled D notes (D2 and D3) allow for easy drone notes while exploring melodies or chord fragments on other strings.

How to Tune:

To achieve this unique tuning from standard E-A-D-G-B-E, follow these steps:

• 6th String (Low E): Tune down 2 semitones to D2.
• 5th String (A): Tune up 1 semitone to A#3. Note: Tuning an A string (A2) up by 1 semitone typically results in A#2. The target note of A#3 indicates a significantly higher pitch, effectively an octave above A#2. This implies the string will be under extremely high tension, or a specialized very light gauge string is necessary to achieve this octave safely. Please exercise extreme caution and consider professional guidance if attempting this.
• 4th String (D): Keep as is; no change (0 semitones) to D3.
• 3rd String (G): Tune down 2 semitones to F3.
• 2nd String (B): Tune down 2 semitones to A3.
• 1st String (High E): Tune down 4 semitones to C4. Caution: Tuning down 4 semitones is a significant drop. This string will likely feel very slack and may buzz. A heavier gauge string is advised for optimal playability and tone.

General Recommendation: For any string movements exceeding 4 semitones (up or down), a different gauge string is generally advised to maintain optimal tension, tone, and prevent potential damage to your instrument or strings. Special care should be taken with the 5th string in this tuning due to the implied octave jump.

Here are the individual notes for each string in this tuning:

String 6: D2

String 5: A#3

String 4: D3

String 3: F3

String 2: A3

String 1: C4