This unique guitar tuning, named "a sky full of stars - daniel padim," is specifically crafted for Daniel Padim's fingerstyle arrangement of Coldplay's iconic song. It suggests an open, ethereal, and harmonically rich soundscape, tailored for intricate melodic lines and arpeggios rather than conventional strumming patterns.

Technical Analysis:

The open string notes are B1, F3#, C4#, F4#, B3, A4#. This collection of notes creates a suspended, almost ambiguous sonic foundation. Analyzing the intervals from the lowest B string:

• The root B is strongly established by the lowest string (B1) and its octave (B3) on String 2.
• The F# notes (F3# on String 5 and F4# on String 3) provide a perfect fifth, adding stability and resonance.
• The C4# (String 4) acts as a major second or ninth to B, contributing to an open, non-major/minor quality, reminiscent of a sus2 or add9 chord.
• The A4# (String 1) creates a prominent major seventh interval with B.

Combined, these notes lean towards a Bmaj7(add9) without a third (D#), or a B Lydian-like tonality. The absence of a natural or major third (D or D#) gives the tuning its signature open and somewhat suspended feel, allowing for a wide range of emotional expression without immediately committing to a major or minor key. The close proximity of A4# and B3 (a minor second) on the two highest strings can create a shimmering, resonant drone effect.

Chordal and Melodic Possibilities:

Given its unique interval structure, this tuning is not designed for playing standard open chords. Instead, it excels in:

• Arpeggios: The wide intervallic jumps and resonant open strings are perfect for lush, flowing arpeggiated patterns, which are characteristic of fingerstyle arrangements.
• Drones and Harmonics: The strong fundamental B and F# notes, along with the minor second on the highest strings, lend themselves well to sustained drones and natural harmonics, adding depth and texture.
• Unique Voicings: Barring across frets will produce complex, extended chords derived from the open Bmaj7(add9) quality, offering fresh harmonic possibilities not easily found in standard tuning.

Tuning Considerations & String Gauge:

Achieving this tuning requires significant adjustments from standard EADGBe. Based on the provided string movements:

• String 6 (Low E): Tuned down 5 semitones (-5). This is a substantial drop; a thicker gauge string is advised to maintain tension and tone.
• String 5 (A): Tuned down 3 semitones (-3). This is a moderate adjustment.
• String 4 (D): Tuned down 1 semitone (-1). A minor adjustment.
• String 3 (G): Tuned down 1 semitone (-1). A minor adjustment.
• String 2 (B): No change (0 semitones).
• String 1 (High e): Tuned down 6 semitones (-6). This is a very significant drop. A thicker gauge string is advised for this string to prevent it from becoming too slack.

Important Note on Discrepancies: It is crucial to be aware that while the 'string_movements' data explicitly states downward semitone adjustments for Strings 1, 3, 4, and 5, achieving the *listed target notes* (A4#, F4#, C4#, F3# from standard E4, G3, D3, A2 respectively) would actually require tuning these strings significantly *upward*, often by more than an octave. For example, to go from a standard A2 to F3# is a 9-semitone increase, not a 3-semitone decrease. This suggests that either the 'semitone movements' refer to a very specific, non-standard tuning method, or the provided 'tuning_notes' and 'string_movements' may have internal inconsistencies regarding standard tuning as the starting point. Extreme caution is advised. If aiming for the exact target notes as listed, professional setup or carefully selected lighter gauge strings may be necessary for the upward-tuned strings to avoid breakage or instrument damage.

Open String Notes:

• String 6 (Lowest): B1
• String 5: F3#
• String 4: C4#
• String 3: F4#
• String 2: B3
• String 1 (Highest): A4#

How to Tune:

To achieve this unique tuning, adjust each string from its standard EADGBe pitch as follows. Please exercise caution when tuning, especially with significant changes:

• String 6 (Low E): Tune to B1. Tune down 5 semitones.
• String 5 (A): Tune to F3#. Tune down 3 semitones.
• String 4 (D): Tune to C4#. Tune down 1 semitone.
• String 3 (G): Tune to F4#. Tune down 1 semitone.
• String 2 (B): Tune to B3. Keep as is; no change (0 semitones).
• String 1 (High e): Tune to A4#. Tune down 6 semitones.

Note on Discrepancies: While the 'How to Tune' instructions indicate specific semitone movements, achieving the exact target notes listed (F3#, C4#, F4#, A4# from standard A2, D3, G3, E4 respectively) would actually involve significant upward tuning (sometimes more than an octave), not merely the downward shifts described. This suggests that either a very specific string gauge setup is required, or the 'semitone movements' refer to a different reference point, or the tuning notes implicitly assume an octave jump. Always tune carefully and consider lighter gauge strings for significant upward shifts to prevent string breakage or instrument damage.