Verbal Analysis

This unique tuning, known as the "Skipping Tiles Tuning," offers a bright yet slightly dissonant and complex sonic landscape. It was notably utilized in the song "Skipping Tiles by Julie," suggesting its suitability for intricate melodies, arpeggios, and rich harmonic textures rather than simple strumming. The tuning provides a distinct character, evoking a sense of movement and perhaps a whimsical or melancholic mood depending on the played melodies. Its non-standard interval relationships encourage exploration beyond typical chord shapes, making it ideal for songwriters seeking an unconventional sound palette.

Technical Analysis

The open notes are F2, A#3, F3, F3, A3, D4.

Analysing the intervals from the lowest string (F2):

• String 6 (F2): Root (F)
• String 5 (A#3 / Bb3): An augmented 2nd (or diminished 4th) from F. This introduces a strong dissonance with the A natural on string 2.
• String 4 (F3): An octave above the lowest F.
• String 3 (F3): Another octave above the lowest F, unison with string 4.
• String 2 (A3): A major 3rd from F. This note is a semitone lower than the A# on string 5, creating a prominent minor second interval (A-Bb) within the open strings.
• String 1 (D4): A major 6th from F.

The presence of both A# (Bb) and A natural creates a significant semitone clash, which is the defining characteristic of this tuning. This deliberate dissonance suggests a tuning designed for specific melodic or harmonic movements that resolve or play with this tension. The multiple Fs provide a strong root foundation and resonance.

Open Chords & Potential Shapes

• Open Strings: The open strings (F, A#, F, F, A, D) themselves do not form a conventional major or minor triad. Instead, they produce a rich and complex voicing that could be interpreted as an F with a major 3rd (A), an added 6th (D), and a suspended 4th or #11 (A#/Bb). This creates an Fmaj6(add#4) or Fmaj6(addBb) type of sound, which is highly resonant but clearly dissonant due to the A/A# clash.
• F Power Chords: With F on strings 6, 4, and 3, it's very easy to play F power chords (F5) by muting other strings or adding the A (string 2) for an F major sound.
• Barred Chords: The repeating Fs and the proximity of A#/A mean that a single-finger bar across certain frets will produce unique and often complex chords. For example, barring at the 1st fret might yield an interesting G-based chord (G, C, G, G, B, E).
• Melodic Potential: The close intervals between A#/Bb and A, and the stacked Fs, make this tuning excellent for fingerstyle playing, allowing for dense voicings and interesting melodic lines that emphasize tension and release.
• Slide Guitar: Given the open intervals and the deliberate dissonance, this tuning could lend itself well to slide guitar, where the dissonances can be explored and resolved fluidly.

Open String Notes

• 6th String (Low E equivalent): F2
• 5th String (A string equivalent): A#3 (Bb3)
• 4th String (D string equivalent): F3
• 3rd String (G string equivalent): F3
• 2nd String (B string equivalent): A3
• 1st String (High E equivalent): D4

How to Tune

To achieve the Skipping Tiles Tuning, adjust your guitar strings as follows. Please exercise caution, especially with larger semitone adjustments, as significant changes in tension can affect string life and guitar setup. For changes exceeding 4 semitones up or down, considering a different gauge string is advisable.

• 6th String (Low E equivalent): Tune up 1 semitones to F2.
• 5th String (A equivalent): Tune up 1 semitones to A#3 (Bb3).
• 4th String (D equivalent): Tune up 3 semitones to F3. (Note: Tuning up 3 semitones increases string tension.)
• 3rd String (G equivalent): Tune down 2 semitones to F3.
• 2nd String (B equivalent): Tune down 2 semitones to A3.
• 1st String (High E equivalent): Tune down 2 semitones to D4.