Verbal Analysis: A Resonant and Expressive Landscape

The "E-Framed Cmaj7 Open Tuning" (originally named "samool" by its creator) offers a rich, resonant, and highly expressive soundscape. Designed with a clear appreciation for the C major 7th chord, this tuning cradles a beautiful Cmaj7 arpeggio (C-E-G-B) between two open E notes. The result is a lush, expansive sound that feels both familiar and refreshingly unique. It lends itself wonderfully to fingerstyle playing, creating shimmering arpeggios and complex harmonic textures with minimal effort. This tuning is perfect for exploring genres like jazz, ambient, folk, and contemporary classical music, providing a harmonically sophisticated foundation for creative composition and improvisation. The open strings themselves form a rich chord, inviting the player to discover new voicings and melodies.

Technical Analysis: Cmaj7 with Doubled Thirds

Technically, this tuning is built around a Cmaj7 chord (C-E-G-B) played across the middle four strings (5 through 2). The genius of this tuning lies in its outer framework: the low 6th string is an E2, a major third below the root C3, providing a deep, grounding bass. The high 1st string is an E4, an octave above the E3 on the 4th string and a major third above the B3 on the 2nd string, adding a bright, ringing quality.

When strummed open, the notes are E2-C3-E3-G3-B3-E4. This creates a very full and intriguing chord. It can be perceived as:

• Cmaj7/E: A C major 7th chord with the lowest E acting as a bass note, giving it a wonderfully open and suspended feel.
• Em11 (E-G-B-C-E): If E is taken as the root, the presence of C makes it an E minor chord with a natural 11th (or a minor 6th), offering a slightly melancholic yet expansive quality.

The prevalence of open major third intervals (E-G-B and C-E-G) within the tuning makes many major and minor chords easily accessible with simple fingerings.

Open Chords and Accessibility:

• Cmaj7: The open strings naturally form a Cmaj7 sound, especially when string 6 is muted or used as a pedal tone.
• E Minor: By focusing on the E-G-B notes, an Em triad is readily available.
• G Major: The G3 on string 3 makes G major and Gmaj7 shapes highly intuitive.
• Barre Chords: Simple one-finger barres can yield a series of lush major 7th chords. For instance, barring all strings at the 1st fret (F) produces an Fmaj7/F, and at the 3rd fret (G) a Gmaj7/G. Note that the exact chord quality will depend on whether you fret the 6th string, but the middle strings will always produce a major 7th arpeggio.

How to Tune Your Guitar

To achieve the "E-Framed Cmaj7 Open Tuning" from standard E-A-D-G-B-E tuning, follow these steps carefully. Please note the semitone changes; any movement of more than 4 semitones up or down might suggest considering a different string gauge for optimal tension and safety. In this tuning, the required movements are moderate.

• String 6 (Low E): Tune to E2. Keep as is; no change (0 semitones).
• String 5 (A): Tune to C3. This requires tuning up 3 semitones.
• String 4 (D): Tune to E3. This requires tuning up 2 semitones.
• String 3 (G): Tune to G3. Keep as is; no change (0 semitones).
• String 2 (B): Tune to B3. Keep as is; no change (0 semitones).
• String 1 (High E): Tune to E4. Keep as is; no change (0 semitones).

Always tune carefully and ensure your guitar's neck relief is properly set for alternative tunings.

String 6: E2 (Low E) - The lowest string, providing a deep, resonant bass foundation.

String 5: C3 - Tuned up to C, serving as the root of the prominent Cmaj7 chord within the tuning.

String 4: E3 - Tuned up to E, this note acts as the major third of the central Cmaj7 chord.

String 3: G3 (G) - Remaining at its standard pitch, this note is the perfect fifth of the Cmaj7 chord.

String 2: B3 (B) - Also at its standard pitch, this is the crucial major seventh of the Cmaj7 chord.

String 1: E4 (High E) - The highest string, retaining its standard pitch, adds a bright, shimmering top end, doubling the major third of C an octave higher.