The tuning, originally known as "okay tuning" and described as "its alright. okay for making riffs," is an intriguing and highly distinctive setup for the Guitar. We've named it "Open C Riff Maker" due to its foundational low C notes and its clear suitability for creating powerful and unique riffs.

Verbal Analysis

This is a profoundly resonant and somewhat avant-garde tuning. The bedrock is formed by an exceptionally low C2 on the 6th string, which pairs an octave higher with the C3 on the 4th string. This provides an incredibly deep, almost guttural drone, perfect for heavy or atmospheric music. The inclusion of A# (Bb) notes on the 5th and 2nd strings, alongside an F# on the 3rd string, gives the tuning a dark, bluesy, and highly tension-filled character. It's not designed for strumming conventional open chords, but rather for crafting intricate single-note lines, powerful two-note voicings, and open string arpeggios that have a strong, modern edge. It actively encourages experimentation and will reward players looking to break away from traditional harmonic structures, aligning perfectly with its original description as being "okay for making riffs."

Technical Analysis

The Open C Riff Maker tuning sets the guitar strings to C2 - A#3 - C3 - F#4 - A#4 - F4 (from lowest to highest string). Let's break down the intervals relative to the dominant C root:

• 6th String (C2): A fundamental, deep root note. A substantial drop from standard E2, creating a powerful, resonant bass foundation.
• 5th String (A#3 / Bb3): Pitched as a minor seventh above the C root. This note introduces a bluesy or dominant 7th flavour.
• 4th String (C3): A perfect octave above the 6th string, reinforcing the C root and providing a thick, droning power.
• 3rd String (F#4): This note is an augmented fourth (tritone) above the C root. The tritone is a highly dissonant interval that injects significant tension and a distinctive, often dark or aggressive, character to the open tuning.
• 2nd String (A#4 / Bb4): Another minor seventh above the C root, this note is an octave higher than the 5th string, further enhancing the bluesy and complex harmonic possibilities.
• 1st String (F4): A perfect fourth above the C root. This note provides a relatively stable upper harmony, often used in suspended chords or for melodic leads.

The open strings do not form a conventional major or minor chord. Instead, they present a C with a minor seventh (Bb), a perfect fourth (F), and an augmented fourth (F#). This highly specific combination is best suited for:

• Power Riffs: The C2 and C3 octave provides an incredibly solid base for powerful, driving riffs, especially when combined with a fretted G for a true power chord.
• Droning Textures: The strong C octave allows for sustained drone notes, over which melodic lines can be played on the higher, more tension-filled strings.
• Blues and Metal: The minor seventh (Bb) and augmented fourth (F#) are hallmark intervals in blues and heavy music, suggesting the tuning's utility for these genres.
• Unique Voicings: Chords will require careful fretting to resolve the inherent dissonances (like the F#). However, two-string voicings like C2-C3 (octave), C2-Bb3 (minor 7th), or C2-F4 (perfect 4th) are readily available and powerful. Experiment with shapes that omit the F# or use it as a passing tone.

How to Tune to Open C Riff Maker

To achieve the Open C Riff Maker tuning, you will adjust your strings from standard EADGBe as follows. Please exercise caution when tuning, especially with larger semitone movements, and be aware of potential inconsistencies between stated semitone movements and target notes for strings 5, 3, and 2.

• 6th String (Low E): Tune down 4 semitones to C2. This is a significant drop.
• 5th String (A): Tune up 1 semitones to A#3.
• 4th String (D): Tune down 2 semitones to C3.
• 3rd String (G): Tune down 1 semitones to F#4.
• 2nd String (B): Tune down 1 semitones to A#4.
• 1st String (High E): Tune up 1 semitones to F4.

Important Note on String Gauge: When tuning a string down by more than 4 semitones (like the 6th string in this tuning) or up by more than 4 semitones, it is generally advised to use a different gauge string. Significant drops can make strings too slack and prone to buzzing, while large increases in pitch can put excessive tension on the neck and risk string breakage. For this tuning, the C2 on the 6th string is a considerable drop from E2, so a heavier gauge for your low string would be beneficial for playability and tone.