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• All Minor Sixths tuning •

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

 

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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 described as a ‘diminished power chord’ (1-b5-1 instead of 1-5-1). The 6-fret jumps neatly bisect our 12-semitone octave, making the tuning symmetrical from any string – i.e. wherever you are, the same note names will be found at the same positions […]

 

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• All Fourths (‘Regular’) tuning •

E-A-D-G-C-F • OVERVIEW • A ‘regular’ stack of perfect 4ths (also forming a zigzagging Dmin11 inversion). Essentialy like EADGBE‘s more ‘logical’ cousin – the 3>2str ‘odd one out’ gap is eliminated (5>5>5>5>5), simplifying the fretboard’s geometry, and thus opening up a near-optimal facility for string-shifting mobility. Great for quartal voicings, and the C & F open […]

 

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• All Major Thirds tuning •

E-G#-C-E-G#-C • OVERVIEW • A ‘regular‘ stack of major 3rds (i.e. 4 semitones separate each string) – forming an augmented triad (1-3-#5) from any of its three notes, regardless of which string you start on. These symmetrical properties arise because our 12-semitone octave divides neatly into 4*3 with no remainder – meaning that sequences 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 [1-b3-b5-bb7] regardless of where you start. 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 ‘orbit’ back […]