Verbal Analysis

The "D Major 6/9" tuning, as named by its creator, presents a truly unique and rich harmonic landscape for the guitar. Described by the user as ideal for various solos, this tuning clearly leans into complex, jazzy sonorities, acknowledging the existence and utility of D#6/9 chords in musical compositions. It's a tuning designed to evoke sophisticated harmonies, potentially offering fresh melodic and harmonic pathways for improvisers and composers alike. The specific combination of notes and their voicings creates a distinct character that steps away from conventional tunings, inviting experimentation with more modern or fusion-oriented styles.

Technical Analysis

This is an open chord tuning for a Guitar, where the open strings collectively form a D#6/9 (Eb6/9) chord. This chord is known for its rich, extended harmony, providing a lush foundation for improvisation and composition. Let's break down how the open notes (F2, A#3, D#4, G3, C4, F4) contribute to this sophisticated harmony:

• String 6 (F2): Functions as the 9th of the D# (Eb) root.
• String 5 (A#3): Functions as the Perfect 5th of the D# (Eb) root.
• String 4 (D#4): This is the Root of the D# (Eb) chord, providing a clear harmonic anchor.
• String 3 (G3): Functions as the Major 3rd of the D# (Eb) chord, defining its major quality.
• String 2 (C4): Functions as the Major 6th of the D# (Eb) chord.
• String 1 (F4): Functions as the Major 9th (an octave above the F2 on the 6th string) of the D# (Eb) chord.

The open notes, when analyzed relative to the D# root and ordered within an octave (D#, F, G, A#, C), perfectly outline the D#6/9 chord structure (Root, 9th, 3rd, 5th, 6th). This makes the entire open tuning a harmonically complete and extended chord.

Looking at the intervals between adjacent strings from low to high reveals some interesting characteristics:

• String 6 (F2) to String 5 (A#3): A very wide interval of 17 semitones (an octave plus an augmented 3rd/perfect 4th). This creates a broad, open bass sound.
• String 5 (A#3) to String 4 (D#4): A perfect fourth (5 semitones).
• String 4 (D#4) to String 3 (G3): An unusual and dramatic drop of 9 semitones, effectively a minor sixth down. This creates a unique voicing and spread, placing the D# root above its G major third.
• String 3 (G3) to String 2 (C4): A perfect fourth (5 semitones).
• String 2 (C4) to String 1 (F4): A perfect fourth (5 semitones).

The series of perfect fourths on the middle and high strings (A#3-D#4, G3-C4, C4-F4) makes certain barre chords or movable shapes highly accessible, particularly those involving sus4 voicings or jazz chord forms. The unusual drop from D#4 to G3 provides interesting possibilities for arpeggiation and voice leading, allowing the D# root to be followed by its major third an octave lower, creating a rich harmonic spread. This tuning encourages exploration of advanced chord voicings, complex harmonies, and melodic ideas, making it especially suitable for the described soloing applications.

How to Tune

To achieve this "D Major 6/9" tuning, starting from standard EADGBe tuning, perform the following adjustments:

• String 6 (Low E): Tune up 1 semitones to F2.
• String 5 (A): Tune up 1 semitones to A#3.
• String 4 (D): Tune up 1 semitones to D#4.
• String 3 (G): Keep as is; no change (0 semitones) to G3.
• String 2 (B): Tune up 1 semitones to C4.
• String 1 (High E): Tune up 1 semitones to F4.

Important Note: All string movements in this tuning are relatively minor (1 semitone up or no change), so a change in string gauge is generally not required. However, always exercise caution when tuning strings up, especially if your guitar is not accustomed to higher tension. For movements exceeding 4 semitones up or down, a different gauge string is usually advised.