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Old 11-14-2010, 07:13 PM   #55
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Join Date: May 2009
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Originally Posted by gwok View Post
just to follow up, here's my tuning beefs

00:08 - the first chord - little wonky
Smacked that one a little hard.

00:51-00:58 -
That's the beats of the major third in the first chord (E) and then the minor 3rd in the second (F#m). If I had to call it, I would say the 3rd in the E is a hair sharp (or E a hair flat) but the minor 3rd in the F#m more to do with minor thirds on big wound strings. Or simply because they are lower.

Major 3rd again. As you elude to below, major thirds have an extremely small amount of wiggle room. I have found that in recordings this presents the biggest issue when the singer's melody uses that same third. The fix is to not play that third on the guitar because the singer has it covered. I must admit that when doing this I had to stop myself from thinking musical and make myself listen for beats. Hmm...

it's funny too, cause a major chord may sound out, though the same chord shape as a minor7, might sound real good,
I certainly agree... IMHO if everything were perfect there are still beats of sorts between in tune intervals, try a minor 2nd for example using the Low E and A strings. Octaves followed by 5ths are the smoothest obviously. If every interval were perfectly smooth when tuning an instrument I'd have to wonder if the colors of the chords would be as rich and if resolution back to the tonic for example would work as well. Just thinkin outloud. Time for me to forget all this left brain stuff for awhile and shift back to the creative right.

If it requires a null test to find it, it is by definition minuscule.
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