Jim Smith
From:
Midlothian, TX, USA
|
Posted 11 Mar 2003 5:45 am |
|
| "If" I compensate, I tune the D straight up and compensate the F# as the third of the D chord with the B pedal: 9 (8 on a U-12), 7, 6 = D, F#, A. |
|
C Dixon
From:
Duluth, GA USA
|
Posted 11 Mar 2003 6:28 am
|
|
Hans,
Very interesting question. Here is my take on it.
When tuning the 9th string (E9th) on a D-10, I deviate from JI (beatless). That is I do not tune the 9th string to make a harmonically pure minor third with the B strings.
While this would seem to be correct (since everything else is pure), it simply ruins the 7th and 9th chords using any combinations of notes with the G#, D and F# notes. Or more simply put, "the 3rd, 7th and 9th tones of a given chord".
Following this logic and relating to a U-12, the scenario is the same. It is the same when tuning the 6th pedal (6th string) on the C neck on a D-10. We are seeking to have a rich dominant sound, rather than a harmonically pure "minor third" sound.
This can easliy be proven on the C6 neck for those who tune JI (no beats). First tune your guitar the way you are used to and then pick the C minor notes on strings 7, 6 and 5 with the 6th pedal engaged. It never sounds good IF, the F7th (or 9th) chord sounds. good.
So to answer your question, one should tune the 8th string D so it is favoring the "7th" sound rather than the harmonically pure "minor 3d sound". The best way I have found to tune it to meet the above objectives is to:
1. Tune the B pedal changes.
2. Then while B is engaged, engage the E to D lower on the 8th string and tune the A and the D notes so they are a perfect 5th.
This will further be made "pure" IF the F# is compensated when playing the D chord.
Or this is my opinion anyway. May Jesus bless you in your quests,
carl |
|
