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• All Minor Sixths tuning •

F-Db-A-F-Db-A • OVERVIEW • A ‘regular’ stack of min 6ths – i.e. 8 semitones separate each string. This produces a ‘wide’ augmented sequence, starting from any of its three notes: whichever string you begin on, playing the two below will form 1-b6-3 (=an 1-3-#5 augmented triad: but one which cycles through the same three notes in […]

 

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• All Fifths tuning •

A-E-B-F#-C#-G# • OVERVIEW • In many ways, tuning to a cycle of perfect 5ths is a very logical approach. After all, much of the modern world’s music is constructed via stacks of 5ths – an interval which enjoys natural prominence as the first non-root overtone in the harmonic series (overtone #3 = 1902 cents above […]

 

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• All Tritones (‘Symmetric’) tuning •

C-Gb-C-Gb-C-Gb • OVERVIEW • A ‘regular’ stack of tritones, forming what could be loosely termed a ‘diminished power chord’ (1-b5 instead of 1-5). The 6-semitone jumps neatly bisect our 12-semitone octave, making the tuning symmetrical from any given point – i.e. whichever string you’re on, the same notes will be found at the same fret […]

 

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• All Fourths (‘Regular’) tuning •

E-A-D-G-C-F • OVERVIEW • A ‘regular’ stack of perfect 4ths (also a Dmin11 arpeggio). Kind of like Standard‘s more logical cousin – the ‘odd one out’ gap between 3-2str is eliminated, simplifying the fretboard’s geometry. Great for quartal voicings, and the C & F open tones are useful for common keys too.   Guitarists arrive […]

 

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• All Major Thirds tuning •

E-Ab-C-E-Ab-C • OVERVIEW • A ‘regular’ stack of maj. 3rds (i.e. 4 semitones separate each string) – forming an augmented triad from any of its three notes, regardless of which string you start on. These odd symmetrical properties arise because our 12-semitone octave divides into 4 with no remainder – meaning that a sequence of […]

 

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• All Minor Thirds tuning •

G-Bb-Db-E-G-Bb • OVERVIEW • A ‘regular’ stack of minor 3rds (i.e. 3 semitones separate each string) – forming a diminished 7th arpeggio regardless of which string you start on. These odd symmetrical properties arise because our 12-semitone octave divides neatly into 3 with no remainder – meaning that sequences of 3 fret jumps will always […]