Tuning Analysis: D Maj 9 no 3 string

This unique 5-string guitar tuning, aptly named "D Maj 9 no 3 string" by its creator, offers a distinct sonic landscape. As described, it aims for a Dmaj9 character while skipping a particular string, and introduces an intriguing semitone clash in its lower register. This tuning is designed for players seeking unconventional harmonies and rich, resonant drones.

Technical Analysis of Open Notes

The open strings, listed from lowest (String 1) to highest (String 5), are: D4, G3, A3, G2, F#3.

When analyzed harmonically from the lowest D (String 1):

• String 1 (D4): Functions as the root.
• String 2 (G3): A Perfect 4th above the root D.
• String 3 (A3): A Perfect 5th above the root D.
• String 4 (G2): An octave below String 2, reinforcing the Perfect 4th.
• String 5 (F#3): A Major 3rd above the root D.

The open notes form a complex harmony containing D, F#, G, and A. While the name suggests a Dmaj9 (D-F#-A-C#-E), the presence of the G (a Perfect 4th) instead of a C# (Major 7th) and E (Major 9th) means the open strings, when strummed together, sound more like a Dsus4 chord with an additional Major 3rd (F#). This creates a rich, full, yet harmonically tense sound.

The "semitone clash" refers most prominently to the F#3 on String 5 and the G3 on String 2. While not adjacent strings, these two notes played simultaneously create a distinct minor second interval, adding a bluesy, jazzy, or even dissonant character that can be highly expressive and used for drone effects or melodic tension.

Chordal Possibilities and Playability

• Open Chords: Strumming all strings produces a rich, suspended D chord with a strong Major 3rd and two G notes providing depth. This can serve as an excellent foundation for ambient or experimental music.
• D Major Based: By carefully muting or avoiding the G strings (Strings 2 and 4), a clear D major sound (D-F#-A) can be emphasized. However, embracing the Gs will lean towards Dsus4.
• G Major Based: With G notes prominently featured on Strings 2 and 4, and D on String 1, simple G major shapes become very resonant. Finding a B on an adjacent string would complete a full G major triad.
• Drone & Textural Play: The repeated G notes (G2 and G3) and the open D and A create a fantastic platform for drone-based compositions. The semitone clash between F# and G can be utilized for expressive melodic lines or sustained, tense harmonies.
• Accessibility: The wide intervals and specific note choices make this tuning conducive to finding unique voicings with minimal fretting, especially for chords that incorporate the D, F#, G, and A notes.

How to Tune

Achieving this tuning requires specific adjustments from a standard 5-string setup. Please follow these instructions carefully. Note that movements exceeding 4 semitones up or down may require a different string gauge to ensure optimal tension and prevent string breakage or floppiness.

• String 5 (Highest): Target note F#3. Tune up 2 semitones.
• String 4: Target note G2. Tune down 2 semitones.
• String 3: Target note A3. Tune up 2 semitones.
• String 2: Target note G3. Tune down 4 semitones. Caution: Tuning down 4 semitones is a significant change. Consider a heavier gauge string if this causes excessive floppiness.
• String 1 (Lowest): Target note D4. Tune down 2 semitones.

The D Maj 9 no 3 string tuning sets the open notes as follows:

• String 5 (Highest): F#3
• String 4: G2
• String 3: A3
• String 2: G3
• String 1 (Lowest): D4