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Perhaps it may seem a bit sophomoric of me in the eyes of the microtonal community, but I am very much imfatuated with 19-EDO.

It offers the convenience of any equal divided octave tuning in that fretwork is simple and that you can modulate into any key without complication.  The number of notes is still small so that fret spacing is comfortable and so that it is not so easy to mistake one note for another in performance.  It offers good approximations to many important just intervals.  Also, I don't see why one would not be able to take any strictly classical music theory and apply it directly to  19-EDO...but there are a few things that have tripped me up with this tuning.

With experienced microtonal guitar players on this forum, I don't see why it would be inappropriate to ask my questions here.

First question:
The "Jimi Hendrix Chord" E7aug9 doesn't sound right to me in 19-EDO as long as it is interpretted as a dominant seventh chord with an augmented ninth.  It sounds better to my ears with the augmented ninth replaced by a minor tenth (minor third or x9 - its enharmonic equivalnce in 19-EDO).  I've come up with a little ditty that I call "The Funky Chicken" that plays off of a E7#9 and E7x9 interpretation.  The difference between the two is striking in this context.

So in terms of just intervals, is this chord, which is well known and heavily used by rock guitarists, mistakenly named, or is the clash in sounds strictly due to the nature of the tuning?

I will post more questions here in the next day or so.

Question number two:

A popular interval in blues and metal, the tritone, has a distinct just tuning ratio from the diminished fifth and augmented fourth.  It is easily approximated in even number equal divided octaves as the square root of two times the tonic (in terms of frequency), but which more appropriately approximates the interval in 19-EDO, E to Bb or E to A#?

Theoretically, A# is a closer approximation at 568 cents, but is this practicably more correct?

These questions could be answered by yourself if you have the program Scala, which is free on the Huygens-Fokker page.
Also in the chord player of Scala you can find more about the Hendrix chord.  monzo and paul also had a debate about this before on the tuning list.
Anytime you need to know something just search the tuning list or xenharmonic'll probably be there.
Playing in 19-edo is actually like taking a step back historically tuning wise- having 1/3 comma meantone and having major and minor thirds that don't add up to a unison.

Ok, so it is neither a #9 nor a b3 / b10, but something else that is still up for debate?  I suppose I will stick with the note that is enharmonic with b10, though.


--- Quote from: bostjan on July 18, 2011, 02:04:34 PM ---Ok, so it is neither a #9 nor a b3 / b10, but something else that is still up for debate?  I suppose I will stick with the note that is enharmonic with b10, though.

--- End quote ---

Its still that same chord- just the 19-edo version of it. If you're using meantone notation it should be notated the same - and have the same identity. what part of the chord tone to you sounds out?


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