(see also https://en.wikipedia.org/wiki/Overtones_tuning and in this blog posts 81 , 157 )
Among alternative tunings for the guitar, an overtones tuning selects its open-string notes from the overtone sequence of a fundamental note. An example is the open tuning constituted by the first six overtones of the fundamental note C, namely
C2-C3-G3-C4-E4-G4. INTERVALS (8-5-4-3M-3m) or in semitones (12-7-5-4-3 )
1-1'-5'-1''-3''-5''
For a 12-string guitar it would be
C2:C2-C3C3-G3G3-C4C4-E4E4-G4G4.
It is the overtones from the 1st till the 6th.
A 2nd version of the 1st overtones tuning is starting from the 2nd overtone till the 8th omitting the 7nth overtone thus
Therefore it supports the ancient isocratic accompanying of melodies with only one power chord.
Overtone tunings that are open tunings have been used in songs by folk musician Joni Mitchell and by rock guitarist Mick Ralphs of Bad Company; these open overtones-tunings select their open notes from the first six partials of their overtone sequence on C or G. For open tunings, the open strings and the frets are each associated with a major-chord, which is played by strumming the open strings or the strings after they have been barred at one fret with one finger, greatly simplifying major-chord playing. For each such open or barred chord, the overtones reinforce the bass note, increasing the guitar's volume of sound and resonance. In an open overtones-tuning, adjacent strings that differ by a third interval can be tuned in just intonation, resulting in greater consonance than thirds in equal temperament.
Another advantage is that the guitar now is a bit more than 4 octaves compared to 3 plus octaves of the standard tuning. Also the three strings C2, C3 C4 give an easy coverage of 3 octaves and any scale in it once we learn in in the first string it is the same in the other two!
Another advantage is that the guitar now is a bit more than 4 octaves compared to 3 plus octaves of the standard tuning. Also the three strings C2, C3 C4 give an easy coverage of 3 octaves and any scale in it once we learn in in the first string it is the same in the other two!
The higher 3 strings C4-E4-G4. ar major chord in normal position , and are part of the Harmonic-melodic tuning discussed in post 90 and 164. They support 3 shapes of major and minor chords 2 shapes of diminished and 1 shape of augmented triad chords by using at most 3 frets.
The strings 2-3-4 (counting 1 from the highest) are as the 3 highest strings of a standard tuning of guitar. They also support 3 shapes of major and minor chords 2 shapes of diminished and 1 shape of augmented triad chords by using at most 3 frets.
The strings 3-4-5 as a power chord p5 as in 3-courses Bouzouki. Therefore it supports the ancient isocratic accompanying of melodies with only one power chord.
The strings 4-5-6 are again an inverted form of power chord.
Therefore it supports the ancient isocratic accompanying of melodies with only one power chord.
ROOT/POWER CHORD/ ROOT MAJOR CHORD/CHORD PROGRESSION IMPROVISATION METHOD.
We notice that the intervals escalate from 8 to 5 to 4 to 3M and finally 3m. This is also an organizational structure of melodies in C major mainly in the ancient mode of isocratic harmony and played mainly across a single string..
1) At first melodies within an interval of 8 accompanied with a single note the root C.
In general we may also have a melodic theme starting at the first note of string and ending at its other end note , in other words one octave. Then translate , invert and mutate it by playing it on another string and by the tuning all strings are only 3 notes , in intervals of 8, 5, 4, 3M, 3m apart, thus plenty many variations! All themes and variations are isocratically accompanied by the root of the scale C (or interval C-G).
2) Then melodies within an interval of 8 accompanied with a pair of notes at different octaves that are the root C.
2) Then melodies within an interval of 7 accompanied with a power chord 1-5-1'of 3 notes C3-G4-C4
Again in general we may also have a melodic theme starting at the first note of string and ending at 7 fret note , in other words one 5th. Then translate , invert and mutate it by playing it on another string and by the tuning all strings are only 3 notes , in intervals of 8, 5, 4, 3M, 3m apart, thus plenty many variations! All themes and variations are isocratically accompanied by the power chord 1-5-1'of 3 notes C3-G4-C4
3) Then melodies within an interval of 4 accompanied with a power chord 1-5-1'of 3 notes C3-G4-C4
Again in general we may also have a melodic theme starting at the first note of string and ending at 5th fret note , in other words one 4th. Then translate , invert and mutate it by playing it on another string and by the tuning all strings are only 3 notes , in intervals of 8, 5, 4, 3M, 3m apart, thus plenty many variations! All themes and variations are isocratically accompanied by the power chord 1-5-1'of 3 notes C3-G4-C4
4) Then melodies within the arpeggio or vector-chord of a chord 1-3-5 (see post 159) accompanied by the major chord 1-3-5 C major
Again in general we may also have a melodic theme starting at the first note of the chord 1-3-5 C major of a string and ending 7th frets higher, in other words one 5th or vector-chord . Then translate , invert and mutate it by playing it on another string and by the tuning all strings are only 3 notes , in intervals of 8, 5, 4, 3M, 3m apart, thus plenty many variations! All themes and variations are isocratically accompanied by the major chord 1-3-5 C major.
5) Finally a chord progression by triads or tetrads on the last 3 or 4 strings ofthe tuning (major minor diminished augmented) alternated with melodic bridges among them.
THIS TUNING IS PROBABLY THE BEST TUNING I HAVE EVER ENCOUNTER WHEN THE REQUIREMENTS IN GUITAR PLAYING IS 80% HARMONIC IMPROVISATION AND 20% MELODIC IMPROVISATION .
Nevertheless for those that are used to the standard tuning guitar probably the tuning
Nevertheless for those that are used to the standard tuning guitar probably the tuning
Since the tuning is the first 6 overtones of a fundamental frequency,our subconscious feeling of sounds even as ultrasounds is much accustomed to such 6-notes chords!besides the overtones tuning is the
5-5-4-3M-4 (see post 219 and 220)
For a children's guitar of 58-59 cm scale length the tuning C2-C3-G3-C4-E4-G4. is feasible. But for standard 66-67 cm scale length guitar maybe the next two tunings are more feasible
OR
Bb1-Bb2-F3-Bb3-D4-F4.
C2-C2-C3-G3-C4-E4
For a 4-courses instrument like a bouzouki or ukulele or octave mandolin two relevant overtone open tunings tunings are the
C3-G3-C4-E4 or C2-G2-C3-E3 OR D3-A3-D4-F#4
or D2-A2-D3-F#3
5-4-3M
THIS IS USED ALSO IN SWEDEN AND SCANDINAVIA FOR THE 4-STRING VIOLIN AS OPEN a MAJOR CHORD TUNING AND IT IS CALLED TROLL (MAGICAL) OVERTONE TUNING
and
G3-C4-E4-G4. or A2-D2-F#3-D4.
4-3M-3m
Or
C2C3-C3C3-E3E3-G3G3
8-3M-3m
THE 2ND OVERTONES TUNING FOR THE 6-STRING GUITAR AND OUD IS TO USE ALL THE 6 HARMONICS FROM THE 2ND TO THE 7NTH FOR THE 6 STRINGS OF THE GUITAR THUS IN INTERVALS 5-4-3M-3m-3M, OR IN NOTES FROM C2-G2-C3-E3-G3-B3
SEE ALSO POST 301.
