Verbal Analysis

This tuning, named "modified drop c" and described as "a piloto signature tuning in debut e.p.", presents a fascinating blend of heavy low-end power with bright, complex upper voicings. It immediately suggests a sound suitable for genres like metal, progressive rock, or heavy alternative music, where a robust rhythm foundation is paramount, but melodic and harmonic complexity is also desired.

The core of this tuning lies in its low strings: C-G-C. This creates an immediate C5 power chord, making heavy riffs and chugging rhythms incredibly accessible and powerful on the bottom three strings. This 'drop' style allows for one-finger power chords, simplifying aggressive playing techniques. However, the upper strings (G4#, B3, E4) introduce a highly unusual and harmonically rich element. Most notably, String 3 (G4#) is tuned higher than String 2 (B3), making this a re-entrant tuning. This unexpected arrangement dramatically alters traditional chord shapes and opens up a new world of open voicings and melodic possibilities not found in standard tunings.

Technical Analysis

The tuning is structured as follows, from lowest to highest string: C2-G2-C3-G4#-B3-E4.

• String 6 (C2): The lowest note, providing a deep, resonant foundation.
• String 5 (G2): A perfect fifth above C2, creating the powerful C5 chord foundation.
• String 4 (C3): An octave above C2, completing the open C5 power chord.
• String 3 (G4#): This is the most distinctive feature. G4# is a significant jump from C3 (an augmented 5th plus an octave, or 20 semitones) and, critically, is tuned *higher* than the adjacent String 2 (B3). This re-entrant string configuration will require a complete rethinking of finger placement and scale patterns.
• String 2 (B3): A minor third below G4#, or a major third above G3 (if we consider standard G).
• String 1 (E4): A perfect fourth above B3.

The open strings form a complex and intriguing chord: C-G-C-G#-B-E. This can be interpreted as a Cmaj7(#11) or a Cmaj7(add b6/b13) if we consider G# as an augmented fifth/minor sixth. Specifically, the interval relationships are:

• C2 (Root)
• G2 (Perfect 5th)
• C3 (Octave)
• G4# (Augmented 5th / Minor 6th relative to C, but in a higher octave, creating a bright tension)
• B3 (Major 7th)
• E4 (Major 3rd)

This open voicing is rich and lends itself to atmospheric passages, arpeggios, and unique melodic lines. Traditional major/minor chord shapes will be largely unusable, pushing the player to explore new voicings and fingerings, especially given the re-entrant G4# string.

How to Tune Your Guitar

To achieve this "modified drop c" tuning from standard E-A-D-G-B-E, follow these instructions carefully. Remember that significant tuning changes may require a different string gauge for optimal tension and intonation. Pay close attention to the direction and number of semitones for each string.

• String 6 (Low E): Originally E2. Tune down 4 semitones to C2. As this is at the threshold of a significant change (-4 semitones), consider a slightly heavier gauge string to maintain optimal tension and intonation, or be prepared for potential looseness with a standard gauge.
• String 5 (A): Originally A2. Tune down 2 semitones to G2. This is a minor adjustment.
• String 4 (D): Originally D3. Tune down 2 semitones to C3. This is a minor adjustment.
• String 3 (G): Originally G3. Tune up 1 semitones to G3#. CRITICAL NOTE: While these instructions detail tuning up 1 semitone to G3#, the final tuning notes specify G4#. Reaching G4# from standard G3 would involve tuning up 13 semitones, which is an extremely significant change well beyond typical string tension limits. For such a dramatic upward change (exceeding +4 semitones), a much lighter gauge string is absolutely essential to prevent string breakage and possible instrument damage. Please ensure you are aware of your intended target note and string gauge requirements.
• String 2 (B): Originally B3. Keep as is; no change (0 semitones).
• String 1 (High E): Originally E4. Keep as is; no change (0 semitones).

When tuning strings up or down by more than 4 semitones from their standard pitch, it is generally recommended to consider using a different string gauge to maintain proper string tension and avoid potential damage to the instrument or string breakage.