Overview: Open Edim7 Tuning

The "Open Edim7" tuning, as its name suggests, is designed to highlight the versatility and symmetrical nature of Diminished 7th chords. As noted in its original description, these chords are a "swiss army knife for key changes" and are highly valued for their symmetrical properties, allowing for easy transposition and modulation.

Technical Analysis of Open Strings:

Upon closer examination of the open string notes, we find a unique arrangement:

• String 6: E2 (Low E)
• String 5: A2
• String 4: C#4
• String 3: G3
• String 2: C#5
• String 1: E4 (High E)

Arranging these notes by pitch from lowest to highest, we have E2, A2, G3, C#4, E4, C#5. The unique pitch classes present are E, A, G, and C#. Interestingly, when all open strings are strummed, they form an A Major 7th chord (A, C#, E, G) voiced with an open E bass, creating a rich and resonant Amaj7/E harmony. This differs from a direct E Diminished 7th chord (E, G, B&, D&/C#), which would require B&.

This suggests that while the tuning is named for the utility of Diminished 7th chords, the open strings themselves offer a lush Major 7th foundation. The presence of octave pairings (E2/E4 and C#4/C#5) adds depth and brilliance, making the E and C# notes particularly strong in this tuning.

Accessible Chords & Shapes:

The open Amaj7 chord provides an immediate melodic and harmonic starting point. The wide intervals between certain strings and the unique note distribution allow for interesting open voicings. The description's emphasis on "Dim7 Chords are barred" implies that specific barre or finger shapes across the fretboard will readily yield Diminished 7th chords, capitalizing on their symmetrical nature for easy movement across keys. This makes the tuning excellent for jazz, blues, or any genre that benefits from sophisticated harmony and frequent modulations.

How to Tune:

To achieve the Open Edim7 Tuning, carefully adjust each string according to the instructions below. Pay close attention to the semitone movements.

• 6th String (Low E): Tune to E2. Keep as is; no change (0 semitones).
• 5th String (A): Tune to A2. Keep as is; no change (0 semitones).
• 4th String (D/C#): Tune to C#4. Tune down 1 semitone. (This means if your string was D4, you tune down to C#4. If your 4th string is D3, the standard tuning, tuning up to C#4 is an extremely large jump of 11 semitones, and a much lighter gauge string would be essential to avoid breakage and neck damage.)
• 3rd String (G): Tune to G3. Keep as is; no change (0 semitones).
• 2nd String (B/C#): Tune to C#5. Tune up 2 semitones. (This means if your string was B4, you tune up to C#5. Tuning up 2 semitones is a moderate increase in tension; proceed with care to avoid string breakage.)
• 1st String (High E): Tune to E4. Keep as is; no change (0 semitones).

Important Note on String Gauges: When string movements exceed -4 or +4 semitones from their intended standard pitch, a change in string gauge is strongly recommended. While most movements here are minor, the implied starting point for the 4th string (D4) suggests it is designed for a higher tension or lighter gauge than a standard D3 string. Always ensure your guitar is properly set up for significant tuning changes to maintain playability and prevent damage.

6th String: E2 - Provides a deep, resonant foundation, typical of a low E string.

5th String: A2 - A standard low A, creating a perfect fourth interval with the 6th string.

4th String: C#4 - An unusually high C# for this string position, contributing brightness and a unique harmonic texture.

3rd String: G3 - The standard G note, sitting in the middle register and offering a warm, familiar tone.

2nd String: C#5 - A very high C#, an octave above the 4th string's C#4, adding sparkle and opportunities for octave melodies.

1st String: E4 - The standard high E, completing the tuning with its characteristic bright and ringing timbre.