This unique 'Em9' open tuning, described by its creator as suitable for genres ranging from folk to post-hardcore, offers a distinct and evocative sound profile. Its intriguing blend of familiar and unexpected intervals provides a rich canvas for musical exploration.

Verbal Analysis

The open strings immediately present a complex harmony. While the tuning's name directly points to an E minor 9th chord, the lowest string being tuned to D provides a powerful foundational drone or a sense of polytonality. This creates an intriguing blend, where the E minor 9th (E-G-B-D-F#) is clearly articulated across the middle strings, underpinned by a low D. This allows for both melancholic and soaring melodic possibilities, with the low D potentially acting as a dynamic pedal point. It's a tuning that can feel both grounded and ethereal, inviting exploration of both subtle textures and driving riffs.

Technical Analysis

Technically, the open strings are D2, F#3, B2, E3, G3, D4 (from low E to high E string). When strummed open, these notes form a complex sonority that contains the notes of an Em9 chord (E-G-B-D-F#). The presence of both a low D (6th string) and a high D (1st string) creates a strong octave resonance, grounding the tuning. The intervallic relationships are particularly interesting: the 6th string (D2) and 4th string (B2) are a perfect fifth apart (D-B is a minor 6th, or B is a perfect 5th below F# on the 5th string), while the 5th (F#3), 3rd (E3), and 2nd (G3) strings create tight melodic clusters that strongly emphasize the E minor harmony.

This tuning lends itself to exploring ambient soundscapes, fingerstyle patterns that leverage the open string harmonies, and power chords that may feel unconventional but yield unexpected voicings. Barre chords will require significant re-learning due to the non-standard intervallic relationships between strings, but this also opens up fresh harmonic territories. The inherent tension and release offered by the D pedal and the Em9 cluster make it versatile for both expressive, introspective pieces and more aggressive, dissonant compositions. Open chords like Dsus2, Em, Gsus2, or partial voicings of Dmaj9 can emerge naturally.

How to Tune (from Standard E)

Achieving this tuning requires significant adjustments from standard E tuning. Please exercise caution, especially with strings tuned down 4 semitones, as excessive tension changes can affect string life and guitar setup. For movements exceeding 4 semitones (either up or down), a different string gauge is generally recommended.

• String 6 (Low E): Tune down 2 semitones to D2.
• String 5 (A): Tune down 3 semitones to F#3.
• String 4 (D): Tune down 3 semitones to B2.
• String 3 (G): Tune down 3 semitones to E3.
• String 2 (B): Tune down 4 semitones to G3. (Note: This is a significant drop; proceed with care.)
• String 1 (High E): Tune down 2 semitones to D4.

Here's a breakdown of each string's target note in this 'Em9' tuning, relative to standard E tuning:

• String 6: D2 (Originally E2 in standard tuning. Tuned down 2 semitones, it provides the deepest note, acting as a resonant pedal tone.)
• String 5: F#3 (Originally A2 in standard tuning. Tuned down 3 semitones, this note is the major 9th of E, adding brightness and harmonic color.)
• String 4: B2 (Originally D3 in standard tuning. Tuned down 3 semitones, this is the perfect fifth of E, creating a strong harmonic foundation.)
• String 3: E3 (Originally G3 in standard tuning. Tuned down 3 semitones, this is the root of the Em9 chord, central to the tuning's identity.)
• String 2: G3 (Originally B3 in standard tuning. Tuned down 4 semitones, this provides the minor third of E, defining the minor quality of the chord.)
• String 1: D4 (Originally E4 in standard tuning. Tuned down 2 semitones, this is an octave above the 6th string, reinforcing the low D, and also serves as the minor seventh of E, adding tension.)