Verbal Analysis

The "dmaj7 open" tuning, as named by its creator, presents a harmonious and resonant open chord, ideal for creating rich, sustained soundscapes. When strummed open, this tuning immediately rings out a D Major 7th chord (D - F# - C# - F# - F# - D), creating a lush, somewhat melancholic, but very full sound. The repeated F# and D notes across different octaves contribute to its depth and sustain. This tuning feels quite intuitive for slide guitar work, as a single straight barre across any fret will yield a Major 7th chord in the corresponding key.

The arrangement of notes, particularly the cluster of F#s and C# in the middle strings, suggests an ease of playing inversions and arpeggios of Dmaj7. Common chord shapes might feel unfamiliar at first, but with the open strings providing the root Dmaj7, it opens up possibilities for exploring diatonic chords within the D Major scale with relatively simple fingerings. For example, by fretting all strings at the 2nd fret, you'd get an Emaj7. Exploring the fretboard with a drone D or F# could yield interesting melodic lines. Due to the significant down-tuning on several strings, it creates a lower overall tension, which might make string bending easier but could also result in a floppier feel on standard string gauges.

Technical Analysis

This tuning, from low to high, is D2 F#3 C#4 F#4 F#4 D4. It's structured around the notes of a D Major 7th chord: D (root), F# (major third), C# (major seventh). The tuning provides multiple octaves and repetitions of these chord tones:

• String 6: D2 (Root)
• String 5: F#3 (Major Third)
• String 4: C#4 (Major Seventh)
• String 3: F#4 (Major Third, octave higher)
• String 2: F#4 (Major Third, repeated)
• String 1: D4 (Root, octave higher)

The intervals from the lowest D (D2) are:

• D2 to F#3: Major 10th (Compound Major 3rd, +15 semitones)
• D2 to C#4: Major 14th (Compound Major 7th, +20 semitones)
• D2 to F#4: Major 17th (Compound Major 3rd, two octaves up, +27 semitones)
• D2 to D4: Two Octaves (Compound Root, +24 semitones)

The tuning features a notable unison between String 3 and String 2 (both F#4). This creates a powerful, sustained F# sound and may simplify certain voicings. The intervals between adjacent strings are:

• String 6 (D2) to String 5 (F#3): Major 10th (+15 semitones)
• String 5 (F#3) to String 4 (C#4): Perfect 5th (+7 semitones)
• String 4 (C#4) to String 3 (F#4): Perfect 4th (+5 semitones)
• String 3 (F#4) to String 2 (F#4): Unison (0 semitones)
• String 2 (F#4) to String 1 (D4): Major 3rd Down (-4 semitones)

This tuning offers a strong foundation for Dmaj7-based compositions and allows for interesting harmonic exploration without needing complex fingerings for the core chord.

Tuning Notes

The open strings for this tuning are:

• String 6 (Low E): D2
• String 5 (A): F#3
• String 4 (D): C#4
• String 3 (G): F#4
• String 2 (B): F#4
• String 1 (High E): D4

How to Tune (From Standard EADGBe)

Please follow these instructions carefully. Note that some strings require significant down-tuning, which may affect string tension and feel. For movements exceeding 4 semitones, a different string gauge might be advisable for optimal performance and string longevity.

• String 6 (Low E): Tune down 2 semitones from E2 to D2.
• String 5 (A): Tune down 3 semitones from A2 to F#2. Note: The target note listed in the tuning (F#3) is an octave higher than the result of this movement from standard tuning (F#2). Please clarify the intended octave.
• String 4 (D): Tune down 1 semitone from D3 to C#3. Note: The target note listed in the tuning (C#4) is an octave higher than the result of this movement from standard tuning (C#3). Please clarify the intended octave.
• String 3 (G): Tune down 1 semitone from G3 to F#3. Note: The target note listed in the tuning (F#4) is an octave higher than the result of this movement from standard tuning (F#3). Please clarify the intended octave.
• String 2 (B): Tune down 5 semitones from B3 to F#3. Note: This is a significant drop. Consider using a heavier gauge string for better tension. The target note listed in the tuning (F#4) is an octave higher than the result of this movement from standard tuning (F#3). Please clarify the intended octave.
• String 1 (High E): Tune down 2 semitones from E4 to D4.