This is an unconventional and highly resonant tuning, aptly described by its creator as something that emerged from experimentation, yet surprisingly yields a clear B minor 7th chord. Technically, the open strings (from low to high) are D2, B2, D3, A3, D4, F#5. This configuration effectively creates an open D6 chord (D-F#-A-B) or, more accurately as noted by the creator, a B minor 7th chord in its second inversion (B-D-F#-A) with a low D as the root, making it a Bm7/D. The doubled D notes across strings 6, 4, and 2 provide a powerful, resonant foundation, while the B and F# add harmonic richness.

Verbal Analysis:

This tuning feels expansive and open, with a bright, slightly melancholic quality due to the prominent B minor 7th voicing. The low D acts as a drone, grounding the brighter, higher-pitched notes. It's well-suited for ambient soundscapes, fingerstyle arrangements that leverage the open harmony, or even blues and jazz explorations where the Bm7 voicing can be a starting point for complex voicings. The overall feel is one of lush harmony and sustain, offering a unique sonic landscape for creative exploration.

Technical Analysis & Chord Possibilities:

• Open Chord: The open strings naturally form a Bm7/D chord (D-B-D-A-D-F#), which can also be interpreted as a D6 chord. This provides an immediate, rich harmonic palette without fretting.
• Root Notes: The multiple D notes (D2, D3, D4) create a strong, deep root. This allows for powerful drone effects and easily facilitates D-based melodies and progressions.
• Intervalic Relationships: The tuning features octave Ds, a perfect 5th (D-A), a major 3rd (D-F#), and a major 6th (D-B). The unique `D-B-D-A-D-F#` structure creates interesting stacked intervals, allowing for unique arpeggios and voicings that go beyond standard tunings.
• Chords Within Reach:
  • Barre Chords: Due to the open D6/Bm7 voicing, barring all strings at any fret will produce transpositions of this chord. For instance, barring at the 2nd fret would yield an E6 chord or C#m7/E, offering a consistent harmonic framework up the neck.
  • Dominant 7ths: By strategically fretting specific notes, you can pivot to dominant 7th chords. For example, by finding a G on the low strings, the open B and D can contribute to a G7 (G-B-D-F) voicing.
  • Minor Chords: The strong Bm7 foundation means minor chords and their extensions (e.g., minor 9ths, 11ths, 13ths) will be quite accessible and resonant, particularly those related to D and B minor.
  • Sus Chords: The prominent A and B notes (relative to D) suggest that suspended 2nd and 4th chords could be easily formed by adjusting a single note, adding tension and release to your playing.
• Fingerstyle Potential: The wide-open voicings and harmonic richness make this tuning excellent for intricate fingerstyle playing, allowing for ringing open strings to accompany fretted melodies and harmonies, creating a full and resonant sound.

Tuning Notes:

• 6th String (Low E): Tuned to D2
• 5th String (A): Tuned to B2
• 4th String (D): Tuned to D3
• 3rd String (G): Tuned to A3
• 2nd String (B): Tuned to D4
• 1st String (High E): Tuned to F#5

How to Tune:

Please note: When adjusting string tension, especially upwards, proceed slowly and carefully. Significant changes in pitch can stress the guitar neck and strings. Generally, tuning up 3 or 4 semitones requires care. When movements exceed negative 4 or positive 4 semitones or above, considering a different gauge string is advised for optimal playability and string longevity.

• 6th String (Low E to D2): Original note E2. Tune down 2 semitones to D2. This is a minor second interval downwards.
• 5th String (A to B2): Original note A2. Tune up 2 semitones to B2. This is a major second interval upwards.
• 4th String (D to D3): Original note D3. Keep as is; no change (0 semitones).
• 3rd String (G to A3): Original note G3. Tune up 2 semitones to A3. This is a major second interval upwards.
• 2nd String (B to D4): Original note B3. Tune up 3 semitones to D4. This is a minor third interval upwards. Exercise a little extra care with this string due to the 3-semitone increase.
• 1st String (High E to F#5): Original note E4. Tune up 2 semitones to F#5. This is a major second interval upwards.