Verbal and Technical Analysis: Robert Fripp's Violin 5ths Tuning

This unique guitar tuning, often associated with the legendary Robert Fripp, reshapes the instrument's intervallic landscape dramatically. As its name suggests, it largely mimics the perfect fifth intervals found on violins and cellos, providing a consistent and symmetrical fretboard logic across most of the strings. The description explicitly states it is "Tuned in 5ths except for the 1st string," which is a crucial detail for understanding its character.

Technically, the tuning is C2-G2-D3-A3-E4-G4. An analysis of the intervals reveals:

• String 6 (C2) to String 5 (G2): A perfect fifth (7 semitones)
• String 5 (G2) to String 4 (D3): A perfect fifth (7 semitones)
• String 4 (D3) to String 3 (A3): A perfect fifth (7 semitones)
• String 3 (A3) to String 2 (E4): A perfect fifth (7 semitones)
• String 2 (E4) to String 1 (G4): A minor third (3 semitones)

This perfect fifth interval consistency across the first five strings creates a highly logical and symmetrical system, making scales and arpeggios predictable across the fretboard. This consistency greatly simplifies transposition and understanding of musical patterns. The break from the fifth on the highest string, shifting to a minor third, adds a distinct flavor and prevents the tuning from becoming too sterile or predictable. It provides a touch of 'standard' guitar feel or a unique harmonic twist.

Open chords available are quite interesting. The open strings C2-G2-D3-A3-E4-G4 do not form a single common chord, but specific combinations are readily apparent:

• Open C Major: The 6th string (C2), 2nd string (E4), and 1st string (G4) beautifully form an open C Major triad (C-E-G), providing a rich, wide voicing.
• Open G Power Chord/Octave: The 5th string (G2) and 1st string (G4) offer a strong G octave, which can be extended with the 4th string (D3) for a G power chord.

The nature of 5ths tuning also means that power chords (root-fifth) are exceptionally easy to form across any two adjacent strings (from string 6 to string 2) with just one finger or a straight bar. This tuning encourages horizontal playing and often leads to expansive, orchestral-like textures due to the wide intervals and consistent relationships. The substantial changes in string tension (especially tuning down the 6th string and tuning up the 2nd and 1st strings significantly) suggest that string gauge consideration is important for optimal playability and string longevity.

Target Notes for Each String:

• String 6: C2
• String 5: G2
• String 4: D3
• String 3: A3
• String 2: E4
• String 1: G4

How to Tune:

For this tuning, you will adjust your guitar from standard E-A-D-G-B-E tuning as follows:

• String 6 (Low E): Tune down 4 semitones from E2 to C2. Please exercise caution with this significant detuning; consider a heavier gauge string if you wish to maintain standard tension.
• String 5 (A): Tune down 2 semitones from A2 to G2.
• String 4 (D): Keep as is; no change from D3 to D3 (0 semitones).
• String 3 (G): Tune up 2 semitones from G3 to A3.
• String 2 (B): Tune up 5 semitones from B3 to E4. This is a considerable increase in tension. We strongly advise using a lighter gauge string for this position or proceeding with extreme care to avoid string breakage or damage to your instrument.
• String 1 (High E): Tune up 3 semitones from E4 to G4. Similar to string 2, this is a significant tuning up. Exercise caution or consider a lighter gauge string.