Verbal Analysis: Lullaby's Embrace

The Luanialus tuning, as described by its creator, evokes a sense of gentle tranquility, perfect for improvising melodies as babies drift to sleep. This implies a tuning designed for soft, contemplative playing, perhaps with a focus on resonant open strings and a soothing, mellow character. Its wide intervalic jumps and lower overall range suggest an expansive sound, ideal for creating atmospheric soundscapes and intimate, heartfelt expressions. This is a tuning that encourages thoughtful exploration rather than aggressive strumming, inviting the player to discover delicate harmonies and haunting melodies.

Technical Analysis: A Deep, Expansive Sound Palette

This is a highly unconventional and deeply resonant tuning for the guitar, particularly noteworthy for its extreme intervallic relationships between strings. Starting from the lowest string, the open notes are C2, A#3, C3, F3, A#4, D4. The presence of two C's, two A#'s (which can also be perceived as Bb's), an F, and a D creates a complex harmonic landscape. When played open, the tuning forms a rich, suspended chord. If C is considered the root, the notes C, D, F, A#/Bb are present, strongly suggesting a C minor 9 (no 5th) (C-Eb-G-Bb-D) with F instead of Eb, or more accurately a complex **Bb Major 9 (no 5th)** (Bb-D-F-A#) with an added low C drone. The prominent C, F, and A#/Bb notes lend themselves to explorations in C minor, F major, or Bb major tonalities, often with a suspended or extended chord quality.

A unique characteristic of this tuning is the exceptionally wide intervals between certain adjacent strings, which significantly deviates from standard guitar tunings:

• The jump from the 6th string (C2) to the 5th string (A#3) is an astonishing 22 semitones (an octave and a major 6th). This creates a vast, open sound.
• The jump from the 3rd string (F3) to the 2nd string (A#4) is a tritone (6 semitones), adding a unique tension or ethereal quality.

These vast intervals make standard chord shapes largely unusable, encouraging players to discover entirely new voicings and fingerings. The tuning seems particularly well-suited for open string drones, arpeggiated figures that highlight its unique intervallic structure, and melodic improvisations that take advantage of its deep bass and soaring higher notes. The two C's and two A#'s across different octaves can create a powerful, resonant sustain when strummed or plucked together, perfect for ambient or cinematic soundscapes.

Open Chords and Accessible Voicings:

• Open Strum: Strumming all open strings (C2, A#3, C3, F3, A#4, D4) will produce a rich, complex, and expansive sound. It's not a simple triad but a sophisticated, suspended voicing that can evoke a contemplative or mysterious mood.
• C-F-A#/Bb Drones: The multiple C and A#/Bb notes, along with F, naturally create resonant drones or pedal tones. Holding these notes while playing melodies on other strings will enhance the tuning's atmospheric qualities.
• New Chord Shapes: Players will find themselves exploring fresh fingerings and chord shapes, particularly around the 3rd, 4th, and 5th strings where the intervals are more conventional (minor 3rd, perfect 4th). The deep C2 bass will anchor many new voicings, allowing for chords with a broad harmonic spread.

How to Tune:

To achieve the Luanialus tuning from standard EADGBe, follow these precise string adjustments:

• 6th String (Low E): Tune the 6th string down 4 semitones to C2.
• 5th String (A): Tune the 5th string up 1 semitone to A#3 (Bb3).
• 4th String (D): Tune the 4th string down 2 semitones to C3.
• 3rd String (G): Tune the 3rd string down 2 semitones to F3.
• 2nd String (B): Tune the 2nd string down 1 semitone to A#4 (Bb4).
• 1st String (High E): Tune the 1st string down 2 semitones to D4.

Please note that string movements of -4 semitones (like on the 6th string) are significant. While these adjustments are within the typical range for classical guitar strings, always exercise caution when making large changes to string tension. If you plan to use this tuning frequently, consider if a different string gauge might be more suitable for optimal tension and playability.

6th String: Tuned to C2. This is significantly lower than standard E2, providing a deep, resonant bass foundation for the tuning.

5th String: Tuned to A#3 (Bb3). This note sits an octave and a major sixth above the 6th string, creating a vast and expansive open interval that contributes to the unique character of this tuning.

4th String: Tuned to C3. A minor third above the 5th string, this C note provides a harmonic anchor and reinforces the C tonality from the lowest string.

3rd String: Tuned to F3. A perfect fourth above the 4th string, contributing to a sense of C minor or F major harmony and adding a fundamental tone.

2nd String: Tuned to A#4 (Bb4). This note is a tritone above the 3rd string and an octave higher than the 5th string, adding brightness, tension, and a strong Bb presence to the open sound.

1st String: Tuned to D4. A major third below the 2nd string, this high note adds a concluding touch to the open tuning's rich sonority, often acting as an extension or a melodic top voice.