Tuning Overview: The "Floop" Tuning

The "Floop" tuning for Guitar is a truly distinctive and adventurous setup, diverging significantly from standard tuning. It presents a rich, complex sonic landscape that leans towards ambient, experimental, or perhaps a unique flavor of blues or jazz. This tuning offers a blend of deep, resonant bass notes with some surprising higher registers, creating a potentially vast harmonic palette for exploration.

Verbal Analysis

At its core, "Floop" doesn't immediately present a clear major or minor open chord, but rather a compelling mix of intervals that invites exploration. The lowest string at C2 provides a deep, foundational rumble, while the C3 on the third string offers an octave complement, giving a sense of gravitas. The presence of G3 (the fifth of C) reinforces a C-centric feel. However, the inclusion of A2, F3, and A#4 (enharmonically Bb4) introduces layers of complexity, creating a rich, somewhat dissonant texture.

Strumming the open strings will yield a dissonant yet intriguing sound: C2-A2-G3-C3-F3-A#4. This can be interpreted as a C dominant 7 chord (C-G-Bb) with added 6th (A) and 11th (F), making it an open-ended, complex voicing. While not an easily accessible common chord shape, this open voicing suggests a sophisticated, jazzy, or even modal quality. The combination of C, G, and the two C octaves (C2, C3) provides a strong anchor, allowing the other notes to create tension and color.

Due to its open structure, simple one-finger barres or partial chords can yield interesting results. For instance, barring the 3rd, 4th, and 5th strings might create unique voicings. The presence of two C notes (C2, C3) and a G (G3) makes open C power chords (C5) readily available across different registers. The F3 and A#4 (Bb4) on the higher strings suggest possibilities for bluesy or modal lead lines, or for creating suspended and dominant 7th textures. This tuning encourages improvisation and a departure from standard chord shapes, pushing a player towards new sonic territories.

Technical Analysis

This is a non-standard custom tuning for a Guitar. The open notes from low to high are: C2, A2, G3, C3, F3, A#4.

• 6th String (C2): Tuned down from standard E2 by 4 semitones.
• 5th String (A2): Remains at standard A2.
• 4th String (G3): Tuned up from standard D3 by 5 semitones.
• 3rd String (C3): Tuned down from standard G3 by 7 semitones.
• 2nd String (F3): Tuned down from standard B3 by 6 semitones.
• 1st String (A#4): Tuned down from standard E4 by 6 semitones.

The significant interval changes between adjacent strings are notable:

• C2 to A2: Major 6th (9 semitones)
• A2 to G3: Minor 7th (10 semitones)
• G3 to C3: Perfect 4th down (or 7 semitones down)
• C3 to F3: Perfect 4th (5 semitones)
• F3 to A#4: Compound interval of an Octave plus an Augmented 4th/Tritone (18 semitones total).

The non-linear pitch progression between string 4 (G3) and string 3 (C3), where the higher-numbered string (3rd) is tuned to a lower pitch than the lower-numbered string (4th), is unusual but can lead to interesting voicings and chord shapes when combined with fretted notes.

How to Tune

This tuning requires significant adjustments from standard EADGBe tuning. Please exercise caution, especially with strings that need to be tuned up substantially, and consider using appropriate string gauges where movements exceed 4 semitones up or down.

• 6th String (Low E): Tune down 4 semitones from E2 to C2. This is a significant drop, and a heavier gauge string is advised to maintain tension and avoid floppiness.
• 5th String (A): Keep as is; no change (0 semitones). This string remains at A2.
• 4th String (D): Tune up 5 semitones from D3 to G3. Caution: Tuning up by 5 semitones is a very large increase in tension. It is strongly advised to use a lighter gauge string for this position to prevent breakage and ensure proper intonation.
• 3rd String (G): Tune down 7 semitones from G3 to C3. This is a substantial drop (a perfect fifth). Using a heavier gauge string might be beneficial to maintain tension and avoid floppiness.
• 2nd String (B): Tune down 6 semitones from B3 to F3. This is a large drop (a tritone). A heavier gauge string could improve playability and tone.
• 1st String (High E): Tune down 6 semitones from E4 to A#4 (Bb4). This is also a large drop (a tritone). A heavier gauge string could improve playability and tone.

6th String: C2
5th String: A2
4th String: G3
3rd String: C3
2nd String: F3
1st String: A#4