Guitar fretting

As the tuning discussion seems to have turned to guitar fretting,
you may be interested to see how I tackled this question.
My intention was to make converting from 12tET as easy as possible
for
experienced guitarists. (Hence the dots etc.)
I propose that newbies first fret their instrument with 19, and later
(when ready) add another 12 to give a total of 31 frets per octave.

The second octave works better using mandolin fretting wire.
The close frets are activated by playing ON the pair, to sound the
sharper note; and BELOW the pair for the flatter.
You'll notice that the sharper of the pair is always a sharp, and
the flatter of the pair always a flat.

Fret positions for LucyTuned 19 & 31 frets per octave instruments.
Intervals > Large small
Ratios > 1.116633 1.073344
cents > 190.9858 122.5354

Distance of Nut to Bridge 650 (Inches or millimetres)
Fifth
Guitar
String FIRST OCTAVE IntervalSECOND OCTAVE
NoteName Scale Distance Fret Fret (L&s) Distance Fret Fret
Marks@ * Position NutToFret of 19 of 31 from NutToFret of 19 of 31
A ** I 0.0000 0 0 Nut 325.0000 19 31
Bbb bbII 19.9923 - 1 (2s-L) 334.9962 - 32
A# #I 25.1987 1 2 (L-s) 337.5994 20 33
Bb bII 44.4160 2 3 s 347.2080 21 34
Ax xI 49.4205 - 4 (2L-2s) 349.7103 - 35
B II 67.8928 3 5 L 358.9464 22 36
Cb bbIII 85.7970 - 6 2s 367.8985 - 37
B# #II 90.4595 4 7 (2L-s) 370.2298 23 38
C * bIII 107.6696 5 8 (L+s) 378.8348 24 39
Dbb bbIV 124.3503 - 9 3s 387.1751 - 40
C# III 128.6942 6 10 2L 389.3471 25 41
Db bIV 144.7283 7 11 (L+2s) 397.3641 26 42
Cx #III 148.9038 - 12 (3L-s) 399.4519 - 43
D * IV 164.3163 8 13 (2L+s) 407.1581 27 44
Ebb bbV 179.2546 - 14 (L+3s) 414.6273 - 45
D# #IV 183.1449 9 15 3L 416.5724 28 46
Eb bV 197.5042 10 16 (2L+2s) 423.7521 29 47
Dx xIV 201.2436 - 17 (4L-s) 425.6218 - 48
E * V 215.0462 11 18 (3L+s) 432.5231 30 49
Fb bbVI 228.4242 - 19 (2L+3s) 439.2121 - 50
E# #V 231.9081 12 20 4L 440.9541 31 51
F bVI 244.7676 13 21 (3L+2s) 447.3838 32 52
Ex xV 248.1164 - 22 (5L-s) 449.0582 - 53
F# * VI 260.4773 14 23 (4L+s) 455.2387 33 54
Gb bbVII 272.4580 15 24 (3L+3s) 461.2290 34 55
Fx #VI 275.5781 - 25 5L 462.7890 - 56
G bVII 287.0943 16 26 (4L+2s) 468.5472 35 57
Abb bbVIII 298.2564 - 27 (3L+4s) 474.1282 - 58
G# VII 301.1632 17 28 (5L+s) 475.5816 36 59
Ab bVIII 311.8925 18 29 (4L+3s) 480.9462 37 60
Gx #VII 314.6866 - 30 6L 482.3433 - 61
A ** VIII 325.0000 19 31 (5L+2s) 487.5000 38 62

copyright 1994

This information may be used to produce instruments for personal use.

For manufacturing and patent licensing please contact.

LucyScaleDevelopments.
PO Box 2108,
Pahoa,
Hawaii,
96778-2108
USA
Voice & Fax US (808) 965-0170

For further details, questions, feedback, MIDI tuning sysex,
scale coding, harmonic mapping, LucyTuned Lullabies etc.
contact:
Charles Lucy, LucyScaleDevelopments,
EMail: lucy@hour.com

LucyTuning website for tech downloads:
http://www.wonderlandinorbit.com/projects/lullaby


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Great! Corngrats, Steve, on your permanent, 22TET guitar conversion!

Now comes the hard part: Playing it! Let me recommend that you try
using a tuning of all fourths all the way across the fingerboard. I found
that tuning, in my admittedly short time (a couple months or so) with
22TET, to make it a bit easier to deal with the pseudocommas.

I bet that Neil would have some thoughts on that.



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mr88cet@texas.net (Gary Morrison) wrote:

> Now comes the hard part: Playing it! Let me recommend that you try
>using a tuning of all fourths all the way across the fingerboard. I found
>that tuning, in my admittedly short time (a couple months or so) with
>22TET, to make it a bit easier to deal with the pseudocommas.
>

I have seen several references on this list to pseudocommas, usually with
reference to 22TET, and also recall seeing a reference by Brian McLaren to
the 11-limit comma (or perhaps an undecimal comma, I forget which). While I
understand what a conventional comma is, I am unfamiliar with either this
22-TET pseudocomma or any undecimal/11-limit comma, and wonder if anyone
couls enlighten me.

Many thanks,
Paul Roser



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>I have seen several references on this list to pseudocommas, usually with
>reference to 22TET ... While I
>understand what a conventional comma is, I am unfamiliar with either this
>22-TET pseudocomma

A pseudocomma is precisely the analogy to a real comma in an
equally-tempered tuning. In 22TET it's easy to see by comparing C- and
D-Major scales:

C * * * D * * E * F * * * G * * A * * * B * C
D * * * E * * F# * G * * * A * * B * * * C# * D
\____/ \____/
Pseudocomma Pseudocomma
Error Error

It's probably best not to call this a true comma because a true comma
creates entirely new sets of pitches, separated by and 81:80 frequency
ratio, whereas 22TET's pseudocomma never produces more than 22 notes per
octave's span.



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