Description of Open G Major 7th #11 Tuning

This is a truly distinctive and rarely encountered tuning, embodying the full complexity suggested by its name: Open G Major 7th #11. As the provided description states, it's a very unusual chord, and as such, this tuning opens up a sonic landscape that is rich, sophisticated, and slightly dissonant in an intriguing way. It's perfectly suited for jazz, fusion, or experimental genres where unique harmonies and voicings are desired. Playing all open strings will immediately give you the Gmaj7#11 chord, offering a unique starting point for compositions.

Technical Analysis:

The open strings are tuned to D2-G2-D3-F#4-B3-C#5. Analyzing these notes reveals the following harmonic structure relative to the root G:

• String 5 (G2): The Root
• String 2 (B3): Major 3rd
• String 4 (D3): Perfect 5th (and String 6 (D2) as an octave lower Perfect 5th)
• String 3 (F#4): Major 7th
• String 1 (C#5): Augmented 4th (or #11)

This precise arrangement forms a complete G Major 7th #11 chord across the open strings. The presence of the #11 (C#) adds a bright, slightly biting tension to the otherwise lush Major 7th harmony. This makes it an excellent tuning for creating atmospheric textures, sophisticated chord melodies, or exploring modal sounds with a sharp, defined character.

Due to the strong chordal foundation, many interesting voicings become immediately accessible. Barre chords up the neck will yield various inversions or related dominant 7th #11, minor 7th b5, or altered chords with relatively simple finger shapes. For example, a barre at the 5th fret would transform the open C#5 into an F#5, creating an interesting Gmaj7(#11) variation with a root at the 5th fret. Experimenting with partial barres or two-finger shapes can unlock a wealth of unique harmonic possibilities, particularly for arpeggios that emphasize the #11, or for creating rich jazz voicings with minimal effort.

How to Tune from Standard EADGBe:

To achieve the Open G Major 7th #11 tuning, follow these steps with care:

• 6th String (Low E to D2): Tune this string down 2 semitones to D2. This is a moderate but noticeable drop from its standard E2.
• 5th String (A to G2): Tune this string down 2 semitones to G2. This is also a moderate drop from its standard A2.
• 4th String (D to D3): Keep this string as is; no change is required. It remains at D3.
• 3rd String (G to F#4): Tune this string down 1 semitone to F#4. This is a minor adjustment.
• 2nd String (B to B3): Keep this string as is; no change is required. It remains at B3.
• 1st String (High E to C#5): Tune this string down 3 semitones to C#5. This is a significant drop for the high E string; please adjust slowly and carefully to avoid string damage.

Always tune slowly and check your intonation after significant changes. For strings with larger drops, be mindful of string tension and potential pitch instability.

6th String: D2

5th String: G2

4th String: D3

3rd String: F#4

2nd String: B3

1st String: C#5