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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]
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.
The size of an interval between two notes may be measured by the ratio of their frequencies.When a musical instrument is tuned using a just intonation tuning system, the size of the main intervals can be expressed by small-integer ratios, such as 1:1 (), 2:1 (), 5:3 (major sixth), 3:2 (perfect fifth), 4:3 (perfect fourth), 5:4 (major third), 6:5 (minor third).
"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]
An augmented chord is one which contains an augmented interval, almost invariably the 5th of the chord. An augmented triad is a major triad whose fifth has been raised by a chromatic semitone; it is the principal harmony of the whole tone scale. For example, the D ♭ augmented triad contains the notes D ♭ —F—A.
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.
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 ...
In this tuning, the fourth (G) string is lowered a half-step, thus recreating the intervals between the top five strings, lowered a perfect fourth. Though chords can easily and more fully be played from this tuning, it sometimes results in awkward inversions , a relatively minor problem if the five-string is played in an ensemble with a bass ...