This unique Guitar tuning, named "Cmaj and Bdim" by its creator, presents an intriguing and experimental sonic landscape. As described in its origin, the tuning was designed to explore the harmonic possibilities of a major third on the lowest strings, with subsequent intervals chosen to maintain a perceived balance.

Verbal and Technical Analysis:

• Open String Notes: The full open string tuning from low to high is E2, G3#, B2, D4#, F4#, A3. This configuration creates a notably wide-voiced and spread harmony across the fretboard.
• Intended Major Third: The creator's initial concept of a "major third on the bottom" is achieved with the 6th string (E2) and 5th string (G3#), which indeed form an E Major Third. The G3# is voiced an octave higher than a direct adjacent major third, contributing to the tuning's open and spacious character.
• Harmonic Observations: While the tuning carries the name "Cmaj and Bdim", a direct analysis of the open string notes (E, G#, B, D#, F#, A) reveals a more complex primary harmony. When considered with E as the root, these notes strongly outline an E Major 11th chord (E - G# - B - D# - F# - A). This encompasses a full E Major 7th (E G# B D#) with the addition of F# (Major 9th) and A (Perfect 11th). Furthermore, the notes from strings 4, 3, and 2 (B2, D4#, F4#) collectively form a B Major triad, rather than a B Diminished chord as suggested by the tuning's name and description. This gives the open tuning a bright, Lydian-esque quality.
• Unique Voicing and Intervallic Structure: The open strings offer a distinctive voicing due to the unconventional intervallic relationships between certain strings. For instance, the 5th string's G3# is an octave above the 4th string's B2. This wide and varied spacing creates unique opportunities for arpeggiation and open-string melodic work.
• Playing Potential: The creator's observation about the potential for a "2 note per string scale" suggests that the specific intervals between strings may facilitate efficient scale playing with reduced fret hand shifts for certain scale patterns, particularly those aligned with the underlying E Major/Lydian harmony. Open chords would naturally gravitate towards E Major, Emaj7, Emaj9, and Emaj11 voicings. Chords based around A Major or B Major might also be readily accessible due to the presence of A3 and B2 in the open tuning. Experimentation with partial chords, drone notes, and specific melodic shapes will be key to unlocking the full expressive range of this tuning.

Open String Notes:

• String 6 (Low E): E2
• String 5 (A): G3#
• String 4 (D): B2
• String 3 (G): D4#
• String 2 (B): F4#
• String 1 (High E): A3

How to Tune (from Standard EADGBe):

• String 6 (Low E): Keep as is; no change (0 semitones). The E2 string remains at E2.
• String 5 (A): Tune down 1 semitone from its standard A2 pitch to G#2.
• String 4 (D): Tune down 3 semitones from its standard D3 pitch to B2.
• String 3 (G): Tune down 4 semitones from its standard G3 pitch to D#3.
• String 2 (B): Tune down 5 semitones from its standard B3 pitch to F#3. Caution: Tuning down 5 semitones is a significant drop in tension. For optimal playability, tone, and to prevent a 'floppy' feel, it is strongly advised to use a heavier gauge string for this position.
• String 1 (High E): Tune down 7 semitones from its standard E4 pitch to A3. Warning: Tuning down 7 semitones (a perfect fifth) is a very substantial change. A significantly heavier gauge string is essential for proper playability, intonation, and to maintain adequate string tension. Expect a very loose feel if using a standard light gauge string.