Verbal Analysis:

The Open Gmaj6 tuning offers a rich and versatile sound, creating beautiful harmonic possibilities with its open string arrangement. As its name suggests, it prominently features the notes of a G major 6th chord (G-B-D-E) across its open strings, specifically on strings 5, 4, 2, and 1 (G2, D3, B3, E4). This allows for easy strumming of a Gmaj6 chord without fretting, providing a full, resonant sound ideal for folk, blues, and slide guitar.

The tuning is described as having "Good closed chord shapes on the top four, middle four, and bottom four string groups," suggesting that barre chords and other common fingerings will be particularly accessible and sound harmonically pleasing. This makes it a great choice for players looking to explore new chord voicings and melodic possibilities with relative ease.

It draws inspiration from both Open G (DGDGBD) and Open D (DADF#AD) tunings. Compared to Open G, the lowest three strings (D-G-D) are identical, giving it a familiar low end. However, the higher strings are altered, with the 3rd string tuned to F#4 (vs. G in Open G) and the 1st string to E4 (vs. D in Open G). This modification introduces the major 6th interval more explicitly. Against Open D, it shares the D-D-F# on strings 6, 4, and 3, but diverges significantly on strings 5, 2, and 1, creating a different harmonic landscape.

A noteworthy and highly unusual characteristic of this specific tuning, as indicated by the specified octaves, is that the 3rd string (F#4) is tuned higher in pitch than the 2nd string (B3). This unconventional string setup requires careful attention during tuning and playing, as it reverses the typical ascending pitch order of adjacent strings in the middle of the neck. This unique arrangement might open up very distinct melodic and chordal textures not found in more conventional tunings.

Technical Analysis:

The Open Gmaj6 tuning for a standard 6-string Guitar consists of the following notes from lowest (6th) to highest (1st) string:

• String 6: D2
• String 5: G2
• String 4: D3
• String 3: F#4
• String 2: B3
• String 1: E4

Analyzing the intervals between adjacent strings:

• String 6 (D2) to String 5 (G2): Perfect 4th (5 semitones)
• String 5 (G2) to String 4 (D3): Perfect 5th (7 semitones)
• String 4 (D3) to String 3 (F#4): Compound Major 3rd (Major 10th, 16 semitones). This is a significant jump in pitch (more than an octave and two whole steps).
• String 3 (F#4) to String 2 (B3): Diminished 5th DOWN (6 semitones lower). This is a highly unusual interval, as the 2nd string is tuned lower than the 3rd string, reversing the conventional pitch progression.
• String 2 (B3) to String 1 (E4): Perfect 4th (5 semitones)

The open strings D-G-D-F#-B-E contain the notes D, E, F#, G, B. This collection can be interpreted as a D Dorian pentatonic scale or parts of a G major 6th chord (G-B-D-E), a D major 6th chord (D-F#-A-B, with the A implied or easily fretted), or an Em9 (E-G-B-D-F#, also with F#, G, E, B, D present). The presence of both F# and G on open strings allows for interesting harmonic interplay.

How to Tune to Open Gmaj6:

Carefully adjust each string from standard tuning (E-A-D-G-B-E) to reach the Open Gmaj6 configuration. Pay close attention to the direction and number of semitones for each string. While these movements are generally within safe limits for standard string gauges, always tune slowly and gently, especially when lowering pitch, to avoid over-loosening or snapping a string if accidentally overtightened.

• String 6 (Low E): Tune down 2 semitones to D2.
• String 5 (A): Tune down 2 semitones to G2.
• String 4 (D): Keep as is; no change (0 semitones) to D3.
• String 3 (G): Tune down 1 semitones to F#4.
• String 2 (B): Keep as is; no change (0 semitones) to B3.
• String 1 (High E): Keep as is; no change (0 semitones) to E4.

Please note the highly unusual arrangement where the 3rd string (F#4) is tuned higher than the 2nd string (B3). This requires particular awareness when playing and may benefit from specific string gauge selection if you encounter issues with tension or intonation.