Verbal Analysis

The Symmetric Open Em7 tuning for Guitar is a truly innovative setup designed with versatility and ergonomic playability in mind. As its name suggests, it boasts an ambidextrous and symmetrical structure, making it exceptionally easy for players to transition between right-handed and left-handed orientations. Imagine flipping your guitar – the string relationships remain remarkably consistent, allowing for intuitive playing regardless of your dominant hand.

This tuning centers around an open minor 7th chord, specifically an E minor 7th (E-G-B-D), which rings out beautifully when all strings are strummed open. The lowest D and B notes provide a rich, extended bass, creating a resonant and full sound that can be interpreted as an Em7/D (E minor 7th with D in the bass) or even a G6/D (G major 6th with D in the bass). This means that a wide array of musical styles, from blues and folk to jazz and rock, can benefit from its inherent harmonic possibilities. The close-to-standard tension across most strings ensures that your guitar feels familiar and responsive, though for absolute perfect symmetry in string tension across both ends, swapping the gauge of the outermost two strings (D2 and D4) and the next-in strings (B2 and B3) is advised for optimal 'flipping' capability.

Chords that readily emerge from this tuning include the foundational E minor 7th (Em7) itself by strumming strings 4, 3, 2, 1 (E3-G3-B3-D4). The open strings also inherently create a powerful G Major 6th (G6) chord (G3-B3-D4-E3) when considering G as the root, with the lower D and B adding depth. Due to the symmetrical design, barre chords become very accessible and predictable across the fretboard. For instance, a simple barre across a single fret will produce consistent harmonic structures, opening up new melodic and rhythmic possibilities.

Technical Analysis

This Guitar tuning sets the open strings to the following notes:

• String 6 (Low E): D2
• String 5 (A): B2
• String 4 (D): E3
• String 3 (G): G3
• String 2 (B): B3
• String 1 (High E): D4

The tuning’s distinct characteristic is its perfect symmetry: the lowest string (D2) and highest string (D4) are octaves apart, and the second lowest (B2) and second highest (B3) are also octaves apart. The central strings (E3 and G3) form a minor third interval.

Let's look at the intervals between adjacent strings:

• String 6 (D2) to String 5 (B2): A Major 6th (9 semitones)
• String 5 (B2) to String 4 (E3): A Perfect 4th (5 semitones)
• String 4 (E3) to String 3 (G3): A Minor 3rd (3 semitones)
• String 3 (G3) to String 2 (B3): A Major 3rd (4 semitones)
• String 2 (B3) to String 1 (D4): A Minor 3rd (3 semitones)

This configuration creates an extended chord of D-B-E-G-B-D. The core E minor 7th chord (E-G-B-D) is prominently featured within the open strings, starting from the 4th string. This specific voicing makes it an excellent tuning for exploring rich, open harmonies and drone-like textures.

Tuning Notes

String 6: D2
String 5: B2
String 4: E3
String 3: G3
String 2: B3
String 1: D4

How to Tune

To achieve the Symmetric Open Em7 tuning from standard EADGBe, follow these steps:

• String 6 (Low E): Tune down 2 semitones to D2.
• String 5 (A): Tune up 2 semitones to B2.
• String 4 (D): Tune up 2 semitones to E3.
• String 3 (G): Keep as is; no change (0 semitones) to G3.
• String 2 (B): Keep as is; no change (0 semitones) to B3.
• String 1 (High E): Tune down 2 semitones to D4.

Note on String Gauges: All string movements are within 4 semitones up or down. Generally, for movements exceeding 4 semitones up or down, a different gauge string is advised to maintain optimal tension and prevent string breakage or excessive floppiness. In this case, the changes are moderate and should be fine with standard gauges, but as the original tuning description hints, for true ambidextrous 'flipping' with consistent feel, one might consider adjusting string gauges for the outermost two strings on each side to ensure perfectly balanced tension.