Verbal Analysis

This intriguing tuning, identified as D#maj7/D, offers a unique and distinct sonic palette. The creator's note suggests it might be the tuning Etham utilizes in the acoustic version of his song "Running Out." This immediately hints at its potential for contemporary, emotive, and perhaps intricate musical arrangements, moving beyond conventional open-chord structures. It implies a design for specific melodic or harmonic purposes, possibly encouraging arpeggiated playing, rich voicings, or supporting particular vocal lines. The presence of both D and D# in the open strings is notable, suggesting either an intentional use of close chromaticism for tension and release, or a tuning crafted for passages where these notes are not necessarily strummed simultaneously but rather played sequentially to define a particular harmonic landscape.

Technical Analysis

The open strings are tuned as follows: D2 G2 D3 D#4 A#4 D4. This tuning significantly diverges from the standard EADGBe, establishing a distinct harmonic character. The lowest string is dropped to D, akin to Drop D tunings, providing a deep and resonant foundation. The repetition of D on three strings (6th, 4th, and 1st) enables powerful D-based drones and supports a strong tonal center. The interval structure across the strings is quite specific:

• String 6 (D2) to String 5 (G2): A Perfect 4th (P4).
• String 5 (G2) to String 4 (D3): A Perfect 5th (P5).
• String 4 (D3) to String 3 (D#4): An Octave plus an Augmented Unison (or Minor 9th), creating a strong, potentially dissonant interval if strummed, but can be utilized for unique voice leading.
• String 3 (D#4) to String 2 (A#4): A Perfect 5th (P5).
• String 2 (A#4) to String 1 (D4): A Diminished 4th (or a Major 7th, considering D is the Major 7th of D#).

When considering the overall chord potential, the tuning establishes D as a strong root on the lowest string. The open string notes (D, G, D, D#, A#, D) incorporate elements of a Dsus4 chord (D, G) and arpeggiated notes from a D# major 7th chord (D#, A#, D). Playing all open strings simultaneously results in a complex voicing containing D, G, D#, A#. This can be interpreted as a Dadd4add#1 or Dadd4(b9), yielding a rich, somewhat tense, and melancholic soundscape. This is not a simple "open chord" tuning designed for straightforward major or minor triads, but rather a sophisticated setup for creating specific harmonic textures.

Due to its distinctive intervals, this tuning is well-suited for:

• Drone-based compositions: The multiple D strings provide excellent possibilities for sustained bass notes and resonant drones.
• Arpeggiated melodies: The D#4, A#4, D4 on the higher strings form an arpeggio (D#maj7 without the root G), suggesting bright, perhaps jazzy or contemporary arpeggio patterns.
• Unique chord voicings: While a full open strum is complex, specific fingerings and partial chords can uncover interesting and uncommon voicings. For instance, an open Dsus4 can be played using strings 6, 5, 4 (D-G-D).
• Chromatic exploration: The proximity of D and D# is a powerful tool for crafting leading tones, suspensions, and resolutions within a D-centric key or modal context.

This tuning is ideal for guitarists who wish to explore beyond traditional voicings and venture into new harmonic territories, particularly those engaged in ambient, contemporary acoustic, or specific song arrangements demanding a fresh sonic identity.

Open String Notes

6th String (Low E): D2
5th String (A): G2
4th String (D): D3
3rd String (G): D#4
2nd String (B): A#4
1st String (High E): D4

How to Tune from Standard EADGBe

To achieve the D#maj7/D tuning, carefully adjust each string from standard EADGBe. Proceed with caution, especially when making significant changes to string tension.

• 6th String (Low E): From standard E2, tune down 2 semitones to D2. (Movement: -2 semitones)
• 5th String (A): From standard A2, tune down 2 semitones to G2. (Movement: -2 semitones)
• 4th String (D): Keep as is; no change (0 semitones) from D3. (Movement: 0 semitones)
• 3rd String (G): From standard G3, tune down 4 semitones. This movement results in D#3. (Movement: -4 semitones) (Note: While the overall tuning targets D#4 for this string, the provided tuning instruction is to tune down 4 semitones from standard G3. Achieving D#4 from G3 would typically involve tuning up 8 semitones.)
• 2nd String (B): From standard B4, tune down 1 semitone to A#4. (Movement: -1 semitones)
• 1st String (High E): From standard E4, tune down 2 semitones to D4. (Movement: -2 semitones)

Important Note on String Gauge: For tunings that require moving a string more than 4 semitones up or down, it is generally recommended to consider using a different string gauge. Large changes in tension can impact string longevity, intonation accuracy, and potentially the structural integrity of your instrument's neck. In this specific tuning, most movements are within a moderate range, but always tune carefully and be mindful of your instrument's response.