DEBGBC Guitar Tuner
DEBGBC Cmaj9/D - Guitar tuning, chords & scales
Verbal Analysis
The 'Cmaj9/D' tuning, as its creator describes, was discovered while experimenting with 9th chords on the piano. This origin immediately suggests a rich, sophisticated harmonic palette, moving beyond typical guitar voicings. It's designed to offer a lush, open sound, ideal for jazz, neo-soul, ambient, or progressive styles where complex harmony and resonant open strings are desired. The D in the bass provides a grounded, pedal-like quality, while the upper strings weave a beautiful, extended C major harmony. It has an inherently warm and inviting character, perfect for arpeggiated figures or sustained chordal textures.
Technical Analysis
This tuning sets the guitar strings to the following notes, from lowest (6th string) to highest (1st string): D2, E2, B2, G3, B3, C4. Analysing the open string notes, we find the collection: D, E, B, G, C. Rearranging these notes to determine the underlying harmony, we get C, D, E, G, B. This precisely outlines a C Major 9th chord (C-E-G-B-D). With the lowest string tuned to D, the tuning essentially presents a Cmaj9 chord voiced over a D bass, exactly as its name suggests.
The intervals created by the open strings from the lowest D (6th string) are particularly noteworthy:
- **6th String (D2):** The root or bass note, grounding the harmony.
- **5th String (E2):** A Major 2nd above the D, or the Major 3rd of the Cmaj9.
- **4th String (B2):** A Major 6th above the D, or the Major 7th of the Cmaj9.
- **3rd String (G3):** A Perfect 4th above the D, or the Perfect 5th of the Cmaj9.
- **2nd String (B3):** An octave higher than the B2, reinforcing the Major 7th.
- **1st String (C4):** A Minor 2nd above the B3, serving as the root of the Cmaj9 chord.
This arrangement allows for a wide-open Cmaj9/D chord to ring out purely when strummed, creating a rich, resonant drone. The close proximity of notes like B, C, D, E on the higher strings (B2, G3, B3, C4) opens up melodic possibilities and makes for easy access to extended voicings and suspensions with minimal fretting.
Chordal Possibilities
Given the open tuning, the most obvious and beautiful chord is a Cmaj9/D simply by strumming all open strings. This tuning is inherently a movable chord shape: by fretting all strings at the same fret, you can achieve various other 9th chords, maintaining the Cmaj9 quality over its root:
- **1st Fret:** Ebmaj9/Eb
- **2nd Fret:** Emaj9/E
- **3rd Fret:** Fmaj9/F
Beyond the full barre chords, the tuning lends itself to:
- **Dsus2 and Dsus4 Voicings:** While the tuning itself doesn't contain a perfect 5th (A) for D, the D and E notes are present, and adding an A (e.g., 5th fret on the 5th string, or 7th fret on the 6th string) would create a beautiful Dsus2. The G note is readily available for Dsus4 implications.
- **C Major 7th or C Major chords:** By muting or avoiding the low D string, the remaining strings can form lush Cmaj7 or C major voicings, offering a distinct harmonic flavor without the D bass.
- **Lydian or Dorian Flavors over D:** The presence of E, B, and C can create interesting Lydian (D-E-F#-G-A-B-C#) or Dorian (D-E-F-G-A-B-C) melodic minor sounds when played over the low D, offering a sophisticated harmonic backdrop for improvisation. The C natural provides a strong Dorian pull, while the B natural leans towards Lydian or Major.
- **Partial Voicings:** Due to the stacked nature of the tuning, complex partial chords and arpeggios are easily accessible, particularly on the higher strings. Experiment with two, three, or four-string voicings to discover unique harmonies and textures.
Open String Notes
- **6th String (Low E):** D2
- **5th String (A):** E2
- **4th String (D):** B2
- **3rd String (G):** G3
- **2nd String (B):** B3
- **1st String (High E):** C4
How to Tune from Standard EADGBe
To achieve the 'Cmaj9/D' tuning from standard EADGBe, follow these precise string adjustments:
- **6th String (Low E):** Tune down 2 semitones from E2 to D2. This is a minor and safe adjustment.
- **5th String (A):** Tune down 5 semitones from A2 to E2. Caution: Tuning down 5 semitones is a significant change in string tension. For optimal playability, tone, and to prevent string floppiness, consider using a heavier gauge string for this string.
- **4th String (D):** Tune down 3 semitones from D3 to B2. This is a moderate and generally safe adjustment.
- **3rd String (G):** Keep as is; no change (0 semitones) from G3 to G3.
- **2nd String (B):** Keep as is; no change (0 semitones) from B3 to B3.
- **1st String (High E):** Tune down 4 semitones from E4 to C4. Caution: Tuning down 4 semitones is a notable change in string tension. For improved feel and sound, especially for sustained notes, consider using a slightly heavier gauge string for this string.
Always tune carefully and gently, especially when making large drops in pitch. Check your intonation after making significant changes to ensure accurate tuning across the fretboard.
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Capos for DEBGBC
Capo | Tuning | Name |
---|---|---|
0 | DEBGBC | Cmaj9/D |
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Tuning Map
- Fret
- S6
- S5
- S4
- S3
- S2
- S1
- -13
- D#
- G#
- C#
- F#
- A#
- D#
- -12
- E
- A
- D
- G
- B
- E
- -11
- F
- A#
- D#
- G#
- C
- F
- -10
- F#
- B
- E
- A
- C#
- F#
- -9
- G
- C
- F
- A#
- D
- G
- -8
- G#
- C#
- F#
- B
- D#
- G#
- -7
- A
- D
- G
- C
- E
- A
- -6
- A#
- D#
- G#
- C#
- F
- A#
- -5
- B
- E
- A
- D
- F#
- B
- -4
- C
- F
- A#
- D#
- G
- C
- -3
- C#
- F#
- B
- E
- G#
- C#
- -2
- D
- G
- C
- F
- A
- D
- -1
- D#
- G#
- C#
- F#
- A#
- D#
- 0
- E
- A
- D
- G
- B
- E
- 1
- F
- A#
- D#
- G#
- C
- F
- 2
- F#
- B
- E
- A
- C#
- F#
- 3
- G
- C
- F
- A#
- D
- G
- 4
- G#
- C#
- F#
- B
- D#
- G#
- 5
- A
- D
- G
- C
- E
- A
- 6
- A#
- D#
- G#
- C#
- F
- A#
- 7
- B
- E
- A
- D
- F#
- B
- -2
- -5
- -3
- 0
- 0
- -4