The Angeltown Tuning 1 is a highly unique and harmonically rich guitar tuning, originally developed for an unreleased Angeltown track. It deviates significantly from standard tuning, offering a fresh sonic landscape for exploration. The open strings resonate with a bright, expansive quality, creating a chordal voice that hints at a D Lydian mode, imparting a sense of uplift and dreaminess.

Technically, the open notes are D2 - A2 - E3 - F#4 - B3 - C#5 (low to high). Analyzing the intervals between adjacent strings reveals a complex structure:

• String 6 (D2) to String 5 (A2): A perfect 5th.
• String 5 (A2) to String 4 (E3): A perfect 5th.
• String 4 (E3) to String 3 (F#4): A compound major 2nd (Major 9th). This creates a wide, open gap.
• String 3 (F#4) to String 2 (B3): A perfect 4th downwards. This inversion is highly unusual for adjacent strings and will profoundly affect chord voicings, creating unexpected harmonic movements and making standard chord shapes largely unplayable.
• String 2 (B3) to String 1 (C#5): A compound major 2nd (Major 10th). Another very wide interval, emphasizing the open and airy nature of the tuning.

When strummed open, the combination of notes (D, A, E, F#, B, C#) forms a D Major 7 chord with added 9th and 13th (Dmaj13 without the G), or more broadly, a D Lydian sonority. This rich, extended harmony provides an immediate melodic and harmonic foundation.

Due to the unconventional intervals, particularly the descending P4 between strings 3 and 2, this tuning is not conducive to standard chord shapes. Instead, it encourages exploration of new voicings, arpeggios, and drones. Power chords will be accessible on the lower strings (D-A, A-E), and the wide intervals on the higher strings offer opportunities for shimmering open chords and melodic lines that emphasize the rich extensions. It’s ideal for fingerstyle playing, ambient textures, or experimental compositions where traditional harmony is less of a concern than unique sonic textures and open resonances. Expect a sound that is both familiar in its root (D major) but exotic and complex in its extensions and voice leading.

This section details the specific notes for each string and provides a guide on how to adjust your guitar from standard EADGBe tuning.

Open String Notes:

• String 6 (Lowest String): D2
• String 5: A2
• String 4: E3
• String 3: F#4
• String 2: B3
• String 1 (Highest String): C#5

How to Tune:

To achieve the Angeltown Tuning 1, follow these steps from standard guitar tuning (E2-A2-D3-G4-B3-E4, low to high). Please note the guidance regarding semitone movements and string gauges.

1. String 6 (Low E to D2): From its standard E2 pitch, tune down 2 semitones. This is a moderate adjustment and generally safe for standard string gauges.
2. String 5 (A to A2): From its standard A2 pitch, keep as is; no change (0 semitones).
3. String 4 (D to E3): From its standard D3 pitch, tune up 2 semitones. This is a moderate upward adjustment and should be fine with standard gauges.
4. String 3 (G to F#4): From its standard G4 pitch, tune down 1 semitone. A minor adjustment.
5. String 2 (B to B3): From its standard B3 pitch, keep as is; no change (0 semitones).
6. String 1 (High E to C#5): The instruction from standard E4 is to tune down 3 semitones. If you tune E4 down 3 semitones, the resulting note would be C#4. However, the target note for this tuning is specified as C#5. To achieve C#5 from a standard E4 string, you would actually need to tune up 10 semitones (a major tenth). Such a significant upward adjustment (exceeding 4 semitones) can place extreme tension on the string and neck. For such a large upward change, a lighter gauge string or professional setup is strongly advised to prevent string breakage or damage to the instrument. If you follow the 'down 3 semitones' literally from E4, you will achieve C#4, not C#5. Please clarify your intended target pitch for this string and adjust accordingly with caution.

General Note on String Gauge: While most individual string movements in this tuning are within safe limits (less than +/- 4 semitones), the potential need to tune String 1 up by 10 semitones to reach C#5 (if starting from E4) means it significantly exceeds the typical safe range. For any tuning changes exceeding negative 4 or positive 4 semitones, a different gauge string is generally advised to ensure playability and instrument safety.