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Comparison between tunings: Pythagorean, equal-tempered, quarter-comma meantone, and others.For each, the common origin is arbitrarily chosen as C. The degrees are arranged in the order or the cycle of fifths; as in each of these tunings except just intonation all fifths are of the same size, the tunings appear as straight lines, the slope indicating the relative tempering with respect to ...
The augmented-fourth interval is the only interval whose inverse is the same as itself. The augmented-fourths tuning is the only tuning (other than the 'trivial' tuning C-C-C-C-C-C) for which all chords-forms remain unchanged when the strings are reversed. Thus the augmented-fourths tuning is its own 'lefty' tuning." [2]
This is often interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth, and two perfect fourths.The chord is related to other pitch collections, such as being a hexatonic subset of the overtone scale, also known in jazz circles as the Lydian dominant scale, lacking the perfect fifth.
Regular tunings include major-thirds (M3), all-fourths, augmented-fourths, and all-fifths tunings. For each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies beginners' learning of chords and that simplifies advanced players' improvisation.
"The augmented-fourth interval is the only interval whose inverse is the same as itself. The augmented-fourths tuning is the only tuning (other than the 'trivial' tuning C–C–C–C–C–C) for which all chords-forms remain unchanged when the strings are reversed. Thus the augmented-fourths tuning is its own 'lefty' tuning." [23]
It is a tritone because F–G, G–A, and A–B are three adjacent whole tones. It is a fourth because the notes from F to B are four (F, G, A, B). It is augmented (i.e., widened) because it is wider than most of the fourths found in the scale (they are perfect fourths). According to this interpretation, the d5 is not a tritone.
This contrasts with equal temperament, in which intervals with the same frequency ratio can have different names (e.g., the diminished fifth and the augmented fourth); and with other forms of just intonation, in which intervals with the same name can have different frequency ratios (e.g., 9/8 for the major second from C to D, but 10/9 for the ...
Augmented-fourths tuning, for example, B-F-b-f-b'-f'. Any note fingered on one string can be fingered on two other strings. Thus chords can be fingered in many ways in augmented-fourths tuning. It is also a regular tuning in which the interval between its strings is a tritone (augmented fourth). [4] A cittern tuning, such as C-G-c-g-c'-g'. [5]