Thanks for your explanation - I think in summary, the way we tune is a sort of compromise that sometimes lets us down or needs re-adjustment.Mr Kite wrote:Bound to happen once you depart from equal temperament. You end up with some notes related by just temperament, others by equal temperament and others by the bastard child of the two. The latter are unlikely to appeal to the shell-like.
There was a video in the luthiers section of some kind of conference where one of the speakers was trying to sell a new fret spacing that someone had patented. His pitch began with tuning a fretted chord according to just temperament (without saying that's what he was doing) and then demonstrating that a fretted chord from a distant key then sounded totally out of tune, as if that showed the fret spacing was wrong.
I can't say I have experimented much with this, but the difficulty I always have with the idea is that you end up adjusting the tuning of one string for one note, when you are inevitably going to play lots of other notes on that same string, and when the note you were so concerned about - I guess it will normally be the third of the tonic chord - will pop up on other strings anyway.
I think my main issue with the piece in question, Sevilla, is that keeps returning to the chord of G on fret seven, and the piece starts on that chord - so I don't want to start the piece badly, so I tend to base my tuning around that chord.bacsidoan wrote:Everyone knows there are more than one way to play a chord on a guitar. Even if piece is written in just one key, the moment you deviate from the position that you have tuned the chord to just temperament for a nicer sound, even the same chord will be more out of whack. I'd rather stay with a well tuned guitar to equal temperament where everything is tolerably wrong.
Do you find some tunings (to a chord) more difficult to "ring true" than others - such as my example of the G chord on fret 7?Andrew Fryer wrote:Often. In general I tune strings 1, 4, 5, 6 with a Snark, then I tune strings 2 and 3 according to what piece I'm playing.
For the Villa-Lobos Mazurka Choro, I tune strings 3,4,5,6 for the A-minor chord. Mileage may vary.
That's what I was thinking too. I hadn't taken into account the effect of intonation though. Is it fair to say that no guitar is perfect and generally the notes will get progressively sharper as you go up the fretboard? If so, then even if we are sticking with ET it might make sense to tune the notes of an important chord to the corresponding pitches, rather than tuning the open strings knowing that that will make all the notes of a fretted chord slightly out (still compared with ET) and some more than others.bacsidoan wrote:Everyone knows there are more than one way to play a chord on a guitar. Even if piece is written in just one key, the moment you deviate from the position that you have tuned the chord to just temperament for a nicer sound, even the same chord will be more out of whack. I'd rather stay with a well tuned guitar to equal temperament where everything is tolerably wrong.
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