Verbal Analysis

This unique tuning, which the original creator describes as "mysterious when all open strings are strummed slowly," offers a rich and evocative soundscape. It's an experimental setup that encourages exploration beyond conventional voicings. All strings are tuned down significantly from standard E, creating a lower overall tension which can be appealing for easier bending and a 'looser' feel, though heavier gauge strings are highly recommended to prevent floppiness, especially given the substantial drops. The open strings form a complex chord, inviting unusual harmonic possibilities and a distinct atmospheric quality.

Technical Analysis

The open strings of this tuning are G1, C3#, B2, D3, F4#, G3. When analyzed for their note names relative to the lowest G, they stack up as:

• G (Root)
• B (Major 3rd)
• D (Perfect 5th)
• F# (Major 7th)
• C# (Augmented 4th / #11)
• G (Octave)

This arrangement perfectly spells out a Gmaj7(#11) chord. The open tuning itself is a resonant G Major 7th with an augmented 11th, providing a lush, jazz-influenced, and somewhat dissonant (due to the #11) harmonic foundation. Strumming all open strings will immediately yield this sophisticated chord.

The intervals between adjacent strings, accounting for their specific octaves, are quite wide and non-standard:

• 6th String (G1) to 5th String (C3#): A very wide interval of 29 semitones, equivalent to two octaves and an augmented 4th.
• 5th String (C3#) to 4th String (B2): A significant drop of 13 semitones, equivalent to an octave and a major 2nd descending.
• 4th String (B2) to 3rd String (D3): A minor 3rd interval (3 semitones).
• 3rd String (D3) to 2nd String (F4#): A wide interval of 16 semitones, equivalent to an octave and a major 3rd.
• 2nd String (F4#) to 1st String (G3): A large drop of 11 semitones, equivalent to a major 7th descending.

These non-linear, often wide intervals between adjacent strings will challenge conventional chord shapes, encouraging new fingerings and voicings. This tuning could be particularly interesting for melodic playing across strings, exploiting the unique harmonic relationships. Chords like the open Gmaj7(#11) will sound full and resonant. Moving just one or two frets can quickly lead to interesting clusters or inversions of the base chord. Experimentation with single-note lines and arpeggios will likely yield the most rewarding results.

How to Tune

To achieve the Gmaj7(#11) Tuning, you will be tuning all strings down from standard EADGBe. Please note the significant semitone drops for most strings. For movements exceeding 4 semitones up or down, it is generally advised to use a different gauge string to maintain optimal playability and string tension.

• 6th String (Low E): Tune down 9 semitones to G1. (Significant drop - consider heavier gauge string)
• 5th String (A): Tune down 8 semitones to C3#. (Significant drop - consider heavier gauge string)
• 4th String (D): Tune down 3 semitones to B2.
• 3rd String (G): Tune down 5 semitones to D3. (Significant drop - consider heavier gauge string)
• 2nd String (B): Tune down 5 semitones to F4#. (Significant drop - consider heavier gauge string)
• 1st String (High E): Tune down 9 semitones to G3. (Significant drop - consider heavier gauge string)