Tunings Thru Reverie

Total Page:16

File Type:pdf, Size:1020Kb

Tunings Thru Reverie The Nightshift Watchman: 1) The Nightshift Watchman (D-G-D-G-B-D, capo 5) 2) Frozen in the Snow() 3) Daddy's Money (D-A-D-G-B-E, capo 1st fret) 4) That's Why I'm Laughing() 5) Come Away to Sea (C-G-C-F-C-E) 6) It's Almost Time() 7) Gone to Santa Fe() 8) Golden Key() 9) Do I Dare (D-A-D-G-A-D) 10) High Hill (C-G-D-G-A-D, capo 4th fret) 11) Sunshine on the Land (D-A-D-G-A-D, capo 1st fret) How Did You Find Me Here: 1) Eye of the Hurricane (C-G-C-G-C-E, capo 3rd fret) 2) Language of the Heart (C#-G#-C#-F#-G#-C# or DADGAD) 3) Rusty Old American Dream (C-G-C-G-C-E, capo 2nd then 3rd fret) 4) How Did You Find Me Here (D-A-D-E-A-D) 5) Leave It Like It Is (Standard E-A-D-G-B-E, capo 4th fret) 6) Saturday They'll All Be Back Again (Standard E-A-D-G-B-E, capo 4th fret) 7) Jamie's Secret (D-A-D-G-B-E) 8) It's Almost Time (C-G-D-G-B-D) 9) Just a Vehicle (C-G-D-G-B-D) 10) Common as the Rain (D-A-D-G-B-E) 11) The Kid (C-G-D-G-B-D, capo 1st fret) Home Again (For the First Time): 1) Burgundy Heart-Shaped Medallion (E-A-C#-E-A-C#) 2) Farther to Fall (D-A-D-G-A-D) 3) (You Were) Going Somewhere (D-A-D-G-B-E) 4) Wildberry Pie (D-A-D-F#-A-D) 5) Let Them In (Even Wilcox does't recall this one. Our best guess is C-G-C-G-C-D) 6) Distant Water (C-G-D-G-B-D) 7) Top of the Roller Coaster (Eb-A-C#-E-A-B, capo 4th fret strings 1-5, 6 open) 8) Covert War (C-G-D-G-A-D) 9) Advertising Man (Standard E-A-D-G-B-E) 10) Last Chance Waltz (D-A-D-G-B-E) 11) She's just Dancing (Eb-A-C#-E-A-B, full capo 2nd fret, partial capo 6th fret, strings 1-5) 12) Chet Baker's Unsung Swan Song (C-G-D-G-A-D, full capo 1st fret, partial capo 6th fret, strings 1-5) 13) Mighty Ocean (D-A-D-F#-A-D) Big Horizon: 1) New World (C-G-C-G-C-E, capo 6th fret) 2) Someday Soon (G-C-G-A-C-G. Wilcox calls this "stage-two tuning," where the tunings get so weird that you can't use regular strings. The sixth string is a double- wound bass string that is so big he had to drill out the hole in the tuning peg and at the saddle. He tunes it to a low G, one octave lower than the lowest G on a standard-tuned guitar. He puts a regular sixth string in the fifth string slot to tune it down to C and replaces the regular first string with an electric guitar string in order to tune up to a high G.) 3) That's What the Lonely Is For (C-G-D-F#-A-D) 4) Show the Way (C-G-C-G-C-E, capo 5th fret) 5) Block Dog (B-F#-B-F#-B-D#) 6) Break in the Cup (C-G-D-G-A-D, capo 3rd fret) 7) It's the Same Old Song (C-G-C-G-C-E) 8) Farthest Shore (B-G-D-F#-A-D) 9) Strong Chemistry (D-A-D-G-A-D) 10) Make It Look Easy (B-G-C-G-C-D, capo 3rd fret) 11) Please Don't Call (C-G-Eb-F-C-D) 12) Big Mistake (Standard E-A-D-G-B-E, full capo 3rd fret, partial capo 5th fret, strings 3-5) 13) All the Roots Grow Deeper When It's Dry (D-A-D-G-B-E) 14) Hold It Up to the Light (C-G-C-G-C-E) 15) Missing You (C-G-D-G-B-D, capo 2nd fret) East Asheville Hardware: 1) Blow Em Away (D-A-D-G-A-D Capo 2) 2) Johnny's Camaro (D-A-D-G-B-E) 3) East Asheville Hardware (D-A-D-G-B-E) 4) Top of My Head (E-A-D-G-B-E) 5) Dangerous (D-A-D-G-A-D) 6) Roadside Modern Art (E-A-D-G-B-E) de Modern Art (E-A-D-G-B-E) 7) You Should See the Way it Feels To Me (D-A-D-G-B-D) 8) COLD 9) Catch Me If I Try (D-A-D-G-A-D) 10) Down Inside Myself (E-A-D-G-B-E) 11) For Real (D-A-D-G-B-E) 12) Mango (C-G-C-G-C-E) 13) Levi Blues (D-A-D-G-B-E) 14) Fearless Love (D-A-D-G-B-E) 15) Boob Job 16) Barbie (D-A-D-G-A-D) 17) After Your Orgasm (D-A-D-G-A-D) 18) Golden Day (C-G-D-G-B-D) 19) Special additional track at end... Turning Point: 1) Show Me The Key (C-G-D-G-A-D) 2) Silent Prayer (C-G-D-G-A-D) 3) Western Ridge (D-A-D-G-A-D) 4) Glory (Regular -- tuned low) 5) Kindness (D-A-D-F#-A-D) 6) Spin (D-A-D-G-A-D) 7) Tattered Old Kite (D-A-D-E-G-C) 8) Right Now (B-G-D-G-B-D) 9) Human Cannonball (Regular -- 1 step down) 10) Secret Church (G-D-G-A-B-G) 11) Turning Point (E-A-C#-E-A-E) 12) Waffle House (Drop D -- tuned 1 step low) Underneath: 1) Underneath (D-A-D-G-A-D tuned -1 down) 2) Never Enough (D-A-D-F#-A-D Capo 4) 3) Down Here (B-F#-D-F#-A-D) 4) Spirit Wind (D-A-D-G-A-D) 5) Prisoner of War (D-A-D-G-A-D Capo 1) 6) Hometown (D-A-D-A-A-E Capo 3) 7) All My Life (D-G-C-F-A-D, i.e. standard -2) 8) Guilty Either Way (A-A-E-G-A-D) 9) Leaving You (C-G-D-G-A-D Capo 3) 10) Young Man Dies (B-F#-D-F#-A-D tuned -1 down) 11) Slipping Through My Fist (B-F#-D-F#-A-D Capo 1) 12) Home Within Your Heart (B-F-D-G-B-D) What You Whispered: 1) What You Whispered (B-G-D-G-B-D tuned -1 down, Cut Capo on 4) 2) This Tattoo (unknown) 3) Deeper Still (B-G-D-G-B-D tuned -1 down, Cut Capo on 4) 4) Start With The Ending B-G-D-G-B-D tuned -1 down, Cut Capo on 4) 5) In the Broken Places (B-G-D-G-B-D tuned -2 down, Cut Capo on 4) 6) Inside of My Head (B-G-D-G-B-D Cut Capo on 4) 7) Whisper of the Wheels (D-A-D-G-A-C) 8) On Your Way Back Down (B-G-D-G-B-D Capo on 1) 9) Rule #1 (B-G-D-G-B-D) 10) When You're Ready (unknown) 11) Step Into Your Skin (D-A-D-G-A-D tuned -1 down) 12) Guitar Shopping (B-G-D-G-B-D) 13) Sex and Music (unknown) Live Songs & Stories: Other songs listed on the albums where they originally appeared (above)... here are the tunings for the previously unreleased songs on ʻLive Songsʼ * Moe (A-G-D-G-C-D, full capo on 2nd fret, bottom string open capo 4 frets up from whole capo) * Words Alone (B-G-D-G-B-D) * Good Together (B-G-D-G-B-E, 4 Cut Capo) Into The Mystery: 1) If It Wasn't For The Night (B-G-D-G-B-D, 4 Cut Capo) 2) Rise (B-G-D-G-B-D, tuned -1 step down) 3) Last One Gone (C-G-D-G-A-B) 4) Out of the Question (D-A-D-G-A-D) 5) In This Stream (B-G-D-G-B-D, 4 Cut Capo) 6) Radio Men (D-A-D-G-A-D) 7) On To the Next (D-A-D-G-A-D) 8) City of Dreams (B-G-D-G-B-D, 4 Cut Capo) 9) Apple A Day (B-G-D-G-B-D, 4 Cut Capo) 10) Blue Horizon (B-G-D-G-B-D) 11) Ask For More (B-G-D-G-B-D) 12) Native Tongue (B-G-D-G-B-D, 4 Cut Capo) 13) Fall Away (unknown) OUT BEYOND IDEAS The following songs are BGDGBD: 3 Things no capo You Who Knew Me No capo Slicing Potatoes full capo 2 AND cut capo 6 No One Knows His Name no capo Shell Trick cut capo 4 Trembling With Joy full capo 5 AND cut capo 9 Absolutly Clear MOVE capo from 2 to 5 and back to 2 The next bunch of songs are in a slight variation tuning BGDGAD How did the Rose no capo Some Seeds cut capo 4 On a Day capo 2 then add cut capo 6 to modulate Now hereʼs the songs in DADGAD: Donʼt go back to sleep capo 7 Out Beyond Ideas capo 4 Midnight capo 5 Elephant story capo 2 The tuning AGDGCD which I've used for songs like MOE and SOUL SONG I also use for the song THIS WE HAVE NOW and the cut capo is on the 4th fret VISTA Here are the ones in the tuning BGDGBD: Get On capo 5 and cut capo 7 Into One cut capo 2 Vista capo 1 Wilford No capo No Doubt About It no capo Grateful for her Beauty cut capo 4 Coming Alive cut capo 6 Here are the songs on VISTA that are in the tuning DADGAD Same Shaker, and Good Man no capo The song MIRACLE is in open D which is DADF#AD Now for the other tunings: Party of One BGDGAD no capo Hard Part DADGBE no capo Everywhere G# DDGAD cut capo 3 Great Big World CGCGCE no capo AIRSTREAM Right On Time - BGDGAD no capo Forever Now - AGDGCD partial capo 4 Perfect Storm - BGDGBD partial capo 7; reg capo 3 Three Brothers - BGDGBD partial capo 4 Plain View - BGDGBD partial capo 3; reg capo 1 The Reason - Regular tuning capo 3 Reaper Sweepstakes - BGDGBD capo 3 Falling For It - BGDGBD partial capo 8; reg capo 1 To Love - BGDGBC partial capo 3; reg capo 1 Little White Lie - BGDGBC partial capo 2 This Old Car - BGDGBD partial capo 4 Never Change - BGDGBD no capo No Telling - BGDGBD partial capo 4 The Crossings - BGDGBD partial capo 2 OPEN HAND TUNINGS/CAPO POSITIONS PC 4 = partial capo - ʻdrop D capo allowing bass note to ring through) on the 4th Fret Dream Again - AGDGCD pc 4 ss 9 key of E (ss = single string capo- itʼs homemade and weʼll eventually add video on the site on how to make your own) Red Eye - AGDFCD capo 1 pc 4 Open Hand - AGDFCD NO CAPO How Long- BGDGBD capo 1 - pc 5 Winter At The Shore - BGDGBD capo 1 - pc 5 Modern World - BGDGBD PC 7 Outside Door - AGDGCD pc 4 Vow Of Silence - AGDFCD pc 4 Captain Wanker - BGDGBD 7 pc Beyond Belief - G# GDGAD pc 4 Not From Here - BGDGBD pc 2 River Run Dry - AGDFCD capo 1 pc 5 REVERIE End of the World B F# B E B C# no capo Shark Man A G D G C D PC capo 7 Cast Off B G D G B D PC capo 4 Dynamite in the Distance B F# D F# A D capo 7 One Way To Find Out unknown Little Fish Bb E B F# B E PC capo 4 Ireland A G D G C D PC capo 2 Reverie A G D F C D no capo Buster B F# B F# B C# no capo Stones of Jerusalem B F# B E B C# no capo Piece of Me B G D G B D PC capo 2 We Call it Freedom B G D G B D no capo Let the Wave Say B F# B E B C# no capo Angeline B F# B D F# B no capo.
Recommended publications
  • Alternate Tuning Guide
    1 Alternate Tuning Guide by Bill Sethares New tunings inspire new musical thoughts. Belew is talented... But playing in alternate Alternate tunings let you play voicings and slide tunings is impossible on stage, retuning is a between chord forms that would normally be nightmare... strings break, wiggle and bend out impossible. They give access to nonstandard of tune, necks warp. And the alternative - carry- open strings. Playing familiar fingerings on an ing around five special guitars for five special unfamiliar fretboard is exciting - you never know tuning tunes - is a hassle. Back to EBGDAE. exactly what to expect. And working out familiar But all these "practical" reasons pale com- riffs on an unfamiliar fretboard often suggests pared to psychological inertia. "I've spent years new sound patterns and variations. This book mastering one tuning, why should I try others?" helps you explore alternative ways of making Because there are musical worlds waiting to be music. exploited. Once you have retuned and explored a Why is the standard guitar tuning standard? single alternate tuning, you'll be hooked by the Where did this strange combination of a major unexpected fingerings, the easy drone strings, 3rd and four perfect 4ths come from? There is a the "new" open chords. New tunings are a way to bit of history (view the guitar as a descendant of recapture the wonder you experienced when first the lute), a bit of technology (strings which are finding your way around the fretboard - but now too high and thin tend to break, those which are you can become proficient in a matter of days too low tend to be too soft), and a bit of chance.
    [Show full text]
  • Guitar Tunings
    Guitar tunings Guitar tunings assign pitches to the open strings of guitars, including acoustic guitars, electric guitars, and classical guitars. Tunings are described by the particular pitches denoted by notes in Western music. By convention, the notes are ordered from lowest-pitched string (i.e., the deepest bass note) to highest-pitched (thickest string to thinnest).[1] Standard tuning defines the string pitches as E, A, D, G, B, and E, from lowest (low E2) to highest (high E4). Standard tuning is used by most guitarists, and The range of a guitar with standard frequently used tunings can be understood as variations on standard tuning. tuning The term guitar tunings may refer to pitch sets other than standard tuning, also called nonstandard, alternative, or alternate. Some tunings are used for 0:00 MENU particular songs, and might be referred to by the song's title. There are Standard tuning (listen) hundreds of such tunings, often minor variants of established tunings. Communities of guitarists who share a musical tradition often use the same or similar tunings. Contents Standard and alternatives Standard Alternative String gauges Dropped tunings Open tunings Major key tunings Open D Open C Open G Creating any kind of open tuning Minor or “cross-note” tunings Other open chordal tunings Modal tunings Lowered (standard) E♭ tuning D tuning Regular tunings Major thirds and perfect fourths All fifths and “new standard tuning” Instrumental tunings Miscellaneous or “special” tunings 1 15 See also Notes Citation references References Further reading External links Standard and alternatives Standard Standard tuning is the tuning most frequently used on a six-string guitar and musicians assume this tuning by default if a specific alternate (or scordatura) is not mentioned.
    [Show full text]
  • Invariant Fingering Over a Tuning Continuum
    Open Research Online The Open University’s repository of research publications and other research outputs Isomorphic controllers and Dynamic Tuning: invariant fingering over a tuning continuum Journal Item How to cite: Milne, Andrew; Sethares, William and Plamondon, James (2007). Isomorphic controllers and Dynamic Tuning: invariant fingering over a tuning continuum. Computer Music Journal, 31(4) pp. 15–32. For guidance on citations see FAQs. c 2007 Massachusetts Institute of Technology Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.1162/comj.2007.31.4.15 http://www.mitpressjournals.org/loi/comj Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Andrew Milne,* William Sethares,** and James Isomorphic Controllers and Plamondon† *Department of Music Dynamic Tuning: Invariant University of Jyväskylä Finland Fingering over a Tuning [email protected] **Department of Electrical and Computer Engineering Continuum University of Wisconsin-Madison Madison, WI 53706 USA [email protected] †Thumtronics Inc. 6911 Thistle Hill Way Austin, TX 78754 USA [email protected] In the Western musical tradition, two pitches are all within the time-honored framework of tonality. generally considered the “same” if they have nearly Such novel musical effects are discussed briefly in equal fundamental frequencies. Likewise, two the section on dynamic tuning, but the bulk of this pitches are in the “same” pitch class if the frequency article deals with the mathematical and perceptual of one is a power-of-two multiple of the other.
    [Show full text]
  • Panel Description Display Using the Tuner Using the Metronome Batteries Specifications
    English Owner’s Manual Before using this unit, carefully read “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (supplied on a separate sheet). After reading, keep the document(s) where it will be available for immediate reference. Panel Description [L] (POWER) button Built-in speaker [SELECT] button Switches the power on and off. The parameter to be set switches each time this is pressed (The value of the parameter blinks). VALUE [ ][ ] buttons [ ] (SOUND) button = ? Change the value of the parameter selected by the [SELECT] button. Turns the sound of the TU-30 on/off. When using the tuner, this sounds a reference pitch. Parameter Value Use the VALUE [=][?] buttons to select a note name or string number. When using the metronome, this sounds the metronome. Tuning Mode CHROMATIC, GUITAR, BASS * The volume is not adjustable. Regular ( / blink alternately), (1 Tuner ²² ²²² ² Flat tuning semitone down)–²²²²² (5 semitones Mic down) Use this when you’re tuning an acoustic instrument. Position the mic Reference pitch A4 = 435–446 Hz (default: 440 Hz) as close as possible to your instrument. Rhythm style Refer to “Rhythm Style Indicator.” Metronome * If you’re using the mic, don’t connect anything to the INPUT jack. Beat 0–9 Tempo ¸=30–250 [TUNER] button Switches to the tuner. [METRONOME] button INPUT jack Switches to the metronome screen and starts the metronome. When Connect the guitar or bass to be tuned here. the metronome screen is displayed, this operates as the start/stop * The sound of the instrument that’s being input is not output from button. the speaker. You can insert a coin in the slit on the bottom of the unit and use the coin as a stand.
    [Show full text]
  • Major Thirds: a Better Way to Tune Your Ipad
    Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, LA, USA, May 31-June 3, 2015 Major Thirds: A Better Way to Tune Your iPad Hans Anderson, Kin Wah Edward Lin, Natalie Agus and Simon Lui Singapore University of Technology and Design 8 Somapah Road Singapore 487372 {hans_anderson, edward_lin, natalie_agus}@mymail.sutd.edu.sg, [email protected] ABSTRACT Major 3rds tuning makes it much easier for the new Many new melodic instruments use a touch sensitive sur- users to learn to play it. In the remaining portion of face with notes arranged in a two-dimensional grid. Most the introduction we will briefly describe some of the related of these arrange notes in chromatic half-steps along the hor- commercially available instruments. In Section 2, we dis- izontal axis and in intervals of 4ths along the vertical axis. cuss the origins of the Major 3rds tuning and explains why Although many alternatives exist, this arrangement, which it is uniquely suited for use on touch-sensitive surfaces. In resembles that of a bass guitar, is quickly becoming the de Section 3, we summarise some key points about the imple- facto standard. In this study we present experimental ev- mentation of our own instrument. In Section 4, we outline idence that grid based instruments are significantly easier our experimental procedure and analyse the results. Fi- to play when we tune adjacent rows in Major 3rds rather nally, we suggest future work related to the study of note than 4ths. We have developed a grid-based instrument as arrangements and of iPad virtual instruments in general.
    [Show full text]
  • The Stanford Organ: a Synthesis of Views
    Performance Practice Review Volume 5 Article 4 Number 2 Fall The tS anford Organ: A Synthesis of Views, The Stanford Eclectic Tunings Robert Bates Mark Lindley Kimberly Marshall Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Bates, Robert; Lindley, Mark; and Marshall, Kimberly (1992) "The tS anford Organ: A Synthesis of Views, The tS anford Eclectic Tunings," Performance Practice Review: Vol. 5: No. 2, Article 4. DOI: 10.5642/perfpr.199205.02.04 Available at: http://scholarship.claremont.edu/ppr/vol5/iss2/4 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Stanford Organ: a Synthesis of Views The Stanford Eclectic Tunings Robert Bates, Mark Lindley, and Kimberly Marshall In his beautiful instrument at Stanford University's Memorial Church, Charles Fisk undertook to build an organ whose nuances of tuning would suit both high-Renaissance and high-baroque music. A few months before his death in December, 1983, he wrote that the instrument should successfully render music "from Praetorius to Bach."1 No one style of tempered tuning could possibly suit such a broad repertoire, so he provided a mechanism to incorporate two different systems that share the same pipes for the diatonic notes. Specific temperaments were newly devised by Harald Vogel, whose influence and enthusiasm were largely responsible for the creation of this unique instrument.
    [Show full text]
  • Altered Guitar Tunings in Canadian Folk and Folk-Related Music
    Altered Guitar Tunings in Canadian Folk and Folk-Related Music RICHARD STEWARDSON Since at least as early as Mississippi Delta blues, altered tunings on guitar have been a part of North American musical culture.1 An early use of altered tunings is suggested in the writings of Howard W. Odum. In his 1911 Journal of American Folklore article, “Folk-Song And Folk-Poetry as Found in the Secular Songs of the Southern Negroes,” Odum noted African Americans using a knife to play the guitar. Although he did not cite the tuning they employed, it seems fairly clear that the technique was akin to that of so-called “slide” or “bottleneck” guitar which almost invariably involves altered tunings. Blues and bluegrass players used altered tunings throughout the first half of the twentieth century. With the folk revival of the 1960s, altered tunings gained wider acceptance in popular folk and rock styles. They were employed by a number of the most popular “folk” artists of the day (e.g., Bob Dylan, Richie Havens, and Joni Mitchell). The use of open tunings was later taken up by artists who played Celtic music (e.g., Martin Carthy). Many of the “folk” guitarists of the period learned to play pieces in open tunings. And since 1980, New Age guitarists have employed altered tunings almost exclusively. Five Canadian Guitarists Informants for the present study included Marty Posen, Don Ross, Peter Matheson, David Norris Elye and John Cooper. All are Canadians currently living in the Toronto area. Interested in folk and/or New Age music, these five Canadian guitarists were motivated to learn to use altered tunings.
    [Show full text]
  • Tu-15 Om.Pdf
    ■ Open Tuning ■ Using a Tone to Indicate Tuning is Completed Owner’s Manual You can tune by string number not only with normal OPEN D/E/G/A, but with six kinds of open (Accu-Pitch Function) tuning, from the often-used DROP D to DADGAD. The TU-15 includes a “Accu-Pitch” function. This function plays a beeping sound when the pitch Thank you, and congratulations on your choice of the BOSS TU-15 Chromatic Tuner. After switching to GUITAR/BASS mode, press the [OPEN TUNING] button to select the type of • Includes “CHROMATIC mode,” which permits tuning to any of the twelve semitone steps by stabilizes within a range of three cents above or below the correct pitch. The beeping sound that Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and tuning you want to set. note name over the entire chromatic scale, and a “GUITAR/BASS mode” for tuning to guitar tells you that a string is precisely in tune will have the pitch of a note from C6 to B6, depending on “IMPORTANT NOTES” (separate sheet). In GUITAR Mode the string being tuned. These sections provide important information concerning the proper operation of the unit. and bass string numbers. Type Open Tuning Indicator * The Accu-Pitch function is turned on at the factory. Additionally, in order to feel assured that you have gained a good grasp of every feature provided • Compatible with seven-string guitars and six-string basses. Regular Not Displayed Accu-Pitch by your new unit, this manual should be read in its entirety.
    [Show full text]
  • Exploration of Unorthodox Tunings and Muscle Memory Practice for the Electric Guitar
    EXPLORATION OF UNORTHODOX TUNINGS AND MUSCLE MEMORY PRACTICE FOR THE ELECTRIC GUITAR LEE ANTHONY JONES SCHOOL OF ARTS AND MEDIA SALFORD MUSIC RESEARCH CENTRE UNIVERSITY OF SALFORD SALFORD, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy (PhD) September 2018 Table of Contents List of Tables and Illustrations iii Glossary of Terms iv Acknowledgements vii Abstract viii Chapter 1: Introduction 1 Chapter 2: Literature Review 4 Chapter 3: Methodology 47 Chapter 4: Commentary 59 Chapter 5: Conclusion and Suggestion for Future Research 91 Bibliography 95 Discography 115 Appendix I: 118 CD Track Lists 119 CDs of Recordings 120 Appendix II: 121 Directory of Muscle Memory Patterns / Shapes 122 Appendix III: 133 12 Short Solo Studies (1-7) 134 12 Short Solo Studies (8-12) 137 Etude for Two Guitars Score 140 Not That That Helps Score 142 Valentine Fog Clears Score 144 Chinese Whispers Score 146 i Chromatic Attack Score 148 Babylon Bells Score 150 Surf-Dale Score 151 Kotofuzz Score 153 Augmented Realism Score 155 Volcanic Waltz Score 157 All’s Well, End’s Well Score 159 Night Train to Mumbai Score 161 Twelve Constellations Score 163 ii List of Tables and Illustrations Figure 1: Table of Alternate Tunings 47 Figure 2: Extract from Solo Study 2 49 Figure 3: Comparison of Standard/C#ADGAD Tuning 53 Figure 4: Comparison of Standard/Chromatic Tuning 54 Figure 5: Amaj7#5 chord voicing derived from Chromatic Tuning 54 Figure 6: Photo of Guitar Ibanez JSM10 63 Figure 7: Photo of Fender Blues Deluxe Amplifier and
    [Show full text]
  • MIT CMJ314 01Milne 15-32
    Andrew Milne,* William Sethares,** and James Isomorphic Controllers and Plamondon† *Department of Music Dynamic Tuning: Invariant University of Jyväskylä Finland Fingering over a Tuning [email protected] **Department of Electrical and Computer Engineering Continuum University of Wisconsin-Madison Madison, WI 53706 USA [email protected] †Thumtronics Inc. 6911 Thistle Hill Way Austin, TX 78754 USA [email protected] In the Western musical tradition, two pitches are all within the time-honored framework of tonality. generally considered the “same” if they have nearly Such novel musical effects are discussed briefly in equal fundamental frequencies. Likewise, two the section on dynamic tuning, but the bulk of this pitches are in the “same” pitch class if the frequency article deals with the mathematical and perceptual of one is a power-of-two multiple of the other. Two abstractions that are their prerequisite. intervals are the “same” (in one sense, at least) if How can one identify those note layouts that are they are an equal number of cents wide, even if tuning invariant? What does it mean for a given in- their constituent pitches are different. Two melodies terval to be the “same” across a range of tunings? are the “same” if their sequences of intervals, in How is such a “range of tunings” to be defined for a rhythm, are identical, even if they are in different given temperament? The following sections answer keys. Many other examples of this kind of “same- these questions in a concrete way by examining two ness” exist. ways of organizing the perception of intervals (the It can be useful to “gloss over” obvious differ- rational and the ordinal), by defining useful meth- ences if meaningful similarities can be found.
    [Show full text]
  • Steel Guitar Tuning Tips
    Steel Guitar Tuning Tips peterson Strobe Tuners for Steel Guitar STEEL GUITAR TUNING What is sweetened tuning? Up to now, the word temperament has been used mainly in conjunction with keyboard instruments and is defined as a way of placing the 12 notes of the chromatic scale at varying degrees of pitch from one another. We at Peterson Tuners thought it was high time a name was coined which described altering the pitch of some or all of those notes. We came up with the name “Sweetener” which means any variation from Equal temperament when tuning an instrument. Choices when tuning The old argument about whether one should tune to Equal Temperament or Just Intonation misses the point that a musician should view tuning as an effect - not a right way or wrong way to voice an instrument. There are ways to design a tuning to take advantage of a particular instrument’s attributes or compensate for an instruments flaws, but to do that, we need to know the difference between tuning one way as opposed to another. Intervals Two pitches sounded together create an interval. The most common intervals are The fifth = two tones separated by 6 semitones in a chromatic scale (example C4 and G4 played together) The fourth = two tones separated by 4 semitones in a chromatic scale (example C4 and F4 played together) The major third = two tones separated by 3 semitones in a chromatic scale (example C4 and E4 played together) The minor third = two tones separated by 2 semitones in a chromatic scale (example C4 and D# played together) Consonance & Dissonance The terms consonance & dissonance describe the degree of harmony of an interval.
    [Show full text]
  • Dynamic Intonation for Synthesizer Performance Benjamin Frederick Denckla
    Dynamic Intonation for Synthesizer Performance Benjamin Frederick Denckla A.B., Special Concentration in Experimental Live Electronic and Computer Music, Harvard College, 1995 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology September 1997 @Massachusetts Institute of Technology, 1997 All rights reserved Author Program in Media Ar ts and Sciences August 8, 1997 Certified by Tod Machover Associate Professor of Music and Media Program in Media Arts and Sciences Thesis Supervisor Accepted by & yy v - - -- Stephen A. Benton Chair Departmental Committee on Graduate Students Program in Media Arts and Sciences Dynamic Intonation for Synthesizer Performance Benjamin Frederick Denckla Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on August 8, 1997, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences Abstract By default, all MIDI synthesizers are tuned to 12-tone equal tempera- ment (12TET). This is the most convenient tuning because it is applicable to all Western music and can be controlled from conventional keyboards. Although it is convenient, it is not necessarily musically desirable. For example, harmon- ically speaking, many musicians find its major thirds less consonant than they would like. Fortunately, MIDI synthesizers are only tuned to 12TET by de- fault, for convenience's sake. They can in fact be used to realize pieces with each note tuned arbitrarily. Thus, like the violin or the voice, they do not have to conform to a tuning at all.
    [Show full text]