I like JI on electric guitar with more sustain and harmonics say with an open chord. I'm a fan of Jon Catler (Steel Blue, Willie McBlind, 13 O'Clock Blues Band). Do you have an album?
beatless tunning is a fundamental part of just intonation. The ratios in JI are decided by the sweet spot where there are no beats between the notes. Sadly tuning all notes pure changes the pitch. Early music sources has a great video about it.
That is not just intonation what you are describing. Just intonation is Pythagorean Just Intonaiton correctly spelled, 17 notes in an unbroken chain of fifths, per octave per tonic triad. It is more aptly called True Intonation because Pythagoras really had nothing to do with inventing the tuning. Check out my channel for many audio examples with sheet music onscreen. We CAN play in true intonation on acoustic instruments AND modulate indefinitely. And only True Intonation is perfectly in tune both harmonically and melodically at the same time. We have been lied to about just intonation and the ability and practicality of playing in tune on real instruments.
Hi! I'm starting to plan the frets for a classical guitar that I will modify. I compared the different types of minor and major seconds, sevenths and tritones, and for some of them, I just can't leave them out. I'm planning to put them in different parts of the fingerboard, where their duplicate would be. Also, I'm thinking that some of them might sound better on higher notes (closer to the bridge), while keeping others closer to the nut. This would keep the fretboard less crowded and more playable. Any ideas on how this could work (or not)?
Thanks for the vid, just letting you know, they put 45/32 in most books for the tritone, because it's the perfect 5th of 15/8 but Harry Partch in Genesis of a Music (1949), highly recommended if you haven't read it. in my opinion rightly points out that 7/5 is more in the spirit of using the smallest possible ratios and, practically the same anyway (1.4062/1.4), but that's what us intonation freaks are all about, practically the same is impossible! It's either dead on or it isn't...hahaha oh yeah, and plus it sounds spicy because of the 7th harmonic
It depends on what effect you wanna create with the tritone. In classical music, tritones are supposed to be the pure major 7th of the scale clashing with the pure perfect 4th, and it's supposed to be very dissonant so that it leads strongly to the root and third, hence the large complex ratio. The septimal tritone is such a simple ratio it doesn't really sound like it needs a strong resolution. If you use it for the tritone in a dominant 7 chord, you've got the first 7 notes of the harmonic series, literally called the harmonic 7th chord, so I've found it's great for modal stuff like lydian or if you wanna give locrian an oddly magical and spacy sound.
On your website there is online calculator for the fret distance. But is it possible that we download the Excel sheet directly? Please make the download button.
zardozica 15/8 means 8/15 of your string is vibrating. So you take the full length of the string, divide it in 15 segments, the fret is at 8 segments from the bottom bridge
Ivan long story... be sure to watch my other videos on JUST INTONATION. Basically I move the frets to align with the harmonics... the reason why each string is different is because they are different notes relating to the key you are tuned to.... can of worms worthy of your research
Your template shows the 10th fret at 8/3 However if you convert this scale into metric ie 25"=635mm this places the 10th fret at 238mm but using the scale/division on the template the 9th fret is 5/3 which is 635/5x3=381mm and the 11th fret is 635/15x8=338.5mm so it stands to reason the 10th fret should be somewhere between 381 and 338 mm not 238mm Looking at the template and taking the markings 7/4 and 9/5 which appear to be equally either side of the 8/3 and then halving the difference I come up with 368.5 which is where the 10th fret should be Also 8/3 appears at the 10th and 17th fret positions? and the marking for the 15th fret 635/16x5 places it at 198mm whereas the positions for the frets either side are 14th @282 and 16th@254 I'm not saying the positions of the markings are wrong, but it odes appear that some of the labelling is incorrect. Unless I am being really dumb and missing something, which is always possible
PS: I'm not sniping, I'd just really like to make a fret board with your fret spacings as they do sound lovely, but because I live in the UK, the postage from the US would be more than the fretboard, and I've made a few 3 & 4 strings myself so cutting a fret board is not an issue for me. I just noticed the labelling when I tried to convert the scales into mm PPS: thanks for sharing you videos they are a great inspiration
No no you are absolutely correct my friend... The 8/3 ratio is for the B string (or the fifth) and not the root ... The reason I use that fret is probably because of my equal temperament upbringing... It actually should be one of the others like you pointed out. Good catch mate. You're spot on
sidney001 i dont have mm template... sorry mate. i just used the harmonics and placed frets ... i used my normal 25 inch scale setup... and used my ear for final tweaking. the laser cut template was generated by a work buddy for EABE interval.
Fair enough, again being real cheeky, any chance of getting a ruler out and measuring them? I assume the spacings work for all tunings a 5th apart ie: GDGD etc
Puckett Cigar Box Guitar Ok, he would have the code for it. My brother has a laser that mounts on his cnc so could make one. Are you still selling necks I could use for a template?
oh my goodness! I FINALLY get it! You explained it so well, thank you!
My hats off to you sir! Respect.
loving these videos... education at its purest, genuine.
I like JI on electric guitar with more sustain and harmonics say with an open chord. I'm a fan of Jon Catler (Steel Blue, Willie McBlind, 13 O'Clock Blues Band). Do you have an album?
beatless tunning is a fundamental part of just intonation. The ratios in JI are decided by the sweet spot where there are no beats between the notes. Sadly tuning all notes pure changes the pitch. Early music sources has a great video about it.
Send me the link
That is not just intonation what you are describing. Just intonation is Pythagorean Just Intonaiton correctly spelled, 17 notes in an unbroken chain of fifths, per octave per tonic triad. It is more aptly called True Intonation because Pythagoras really had nothing to do with inventing the tuning. Check out my channel for many audio examples with sheet music onscreen. We CAN play in true intonation on acoustic instruments AND modulate indefinitely. And only True Intonation is perfectly in tune both harmonically and melodically at the same time. We have been lied to about just intonation and the ability and practicality of playing in tune on real instruments.
Hi! I'm starting to plan the frets for a classical guitar that I will modify. I compared the different types of minor and major seconds, sevenths and tritones, and for some of them, I just can't leave them out. I'm planning to put them in different parts of the fingerboard, where their duplicate would be. Also, I'm thinking that some of them might sound better on higher notes (closer to the bridge), while keeping others closer to the nut. This would keep the fretboard less crowded and more playable. Any ideas on how this could work (or not)?
Thanks for the vid, just letting you know, they put 45/32 in most books for the tritone, because it's the perfect 5th of 15/8 but Harry Partch in Genesis of a Music (1949), highly recommended if you haven't read it. in my opinion rightly points out that 7/5 is more in the spirit of using the smallest possible ratios and, practically the same anyway (1.4062/1.4), but that's what us intonation freaks are all about, practically the same is impossible! It's either dead on or it isn't...hahaha
oh yeah, and plus it sounds spicy because of the 7th harmonic
It depends on what effect you wanna create with the tritone. In classical music, tritones are supposed to be the pure major 7th of the scale clashing with the pure perfect 4th, and it's supposed to be very dissonant so that it leads strongly to the root and third, hence the large complex ratio. The septimal tritone is such a simple ratio it doesn't really sound like it needs a strong resolution. If you use it for the tritone in a dominant 7 chord, you've got the first 7 notes of the harmonic series, literally called the harmonic 7th chord, so I've found it's great for modal stuff like lydian or if you wanna give locrian an oddly magical and spacy sound.
Yeah the huygen's tritone is more consonant than 45/32
On your website there is online calculator for the fret distance. But is it possible that we download the Excel sheet directly? Please make the download button.
why is the major 3rd divided into more divisions than major 2nd? why does it work vice versa?
not sure 😎
Will this only with on the string cbgs?
Interesting but still above my pay grade mentally. On a 25" scale, how would you convert each node (I.e., 15/8) into inches?
zardozica 15/8 means 8/15 of your string is vibrating. So you take the full length of the string, divide it in 15 segments, the fret is at 8 segments from the bottom bridge
Why there engraved 4 different scales on the board? What they mean?
Ivan long story... be sure to watch my other videos on JUST INTONATION. Basically I move the frets to align with the harmonics... the reason why each string is different is because they are different notes relating to the key you are tuned to.... can of worms worthy of your research
Your template shows the 10th fret at 8/3
However if you convert this scale into metric ie 25"=635mm
this places the 10th fret at 238mm but using the scale/division on the template
the 9th fret is 5/3 which is 635/5x3=381mm
and the 11th fret is 635/15x8=338.5mm
so it stands to reason the 10th fret should be somewhere between 381 and 338 mm not 238mm
Looking at the template and taking the markings 7/4 and 9/5 which appear to be equally either side of the 8/3 and then halving the difference I come up with 368.5 which is where the 10th fret should be
Also 8/3 appears at the 10th and 17th fret positions?
and the marking for the 15th fret 635/16x5 places it at 198mm whereas the positions for the frets either side are 14th @282 and 16th@254
I'm not saying the positions of the markings are wrong, but it odes appear that some of the labelling is incorrect. Unless I am being really dumb and missing something, which is always possible
PS: I'm not sniping, I'd just really like to make a fret board with your fret spacings as they do sound lovely, but because I live in the UK, the postage from the US would be more than the fretboard, and I've made a few 3 & 4 strings myself so cutting a fret board is not an issue for me.
I just noticed the labelling when I tried to convert the scales into mm
PPS: thanks for sharing you videos they are a great inspiration
No no you are absolutely correct my friend... The 8/3 ratio is for the B string (or the fifth) and not the root ... The reason I use that fret is probably because of my equal temperament upbringing... It actually should be one of the others like you pointed out. Good catch mate. You're spot on
Puckett Cigar Box Guitar
Hi Del, I'm being a bit cheeky but any chance of sharing the measurements of the fret spacings in mm ?.
sidney001 i dont have mm template... sorry mate. i just used the harmonics and placed frets ... i used my normal 25 inch scale setup... and used my ear for final tweaking. the laser cut template was generated by a work buddy for EABE interval.
Fair enough, again being real cheeky, any chance of getting a ruler out and measuring them?
I assume the spacings work for all tunings a 5th apart ie: GDGD etc
Is there a way I can get the gcode for your template? I would use it only for creating one for my personal building.
Vern Nickelson all I have is this template .... a good friend made it for me.
Puckett Cigar Box Guitar Ok, he would have the code for it. My brother has a laser that mounts on his cnc so could make one. Are you still selling necks I could use for a template?
Vern Nickelson google Jim Snow. That’s your best bet. He would have the code :-)
Interesting and a bit over my head LOL!