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The fret marks guide the player to 12edo intervals, while the intervals between the strings are often tuned differently (i.e. just intervals, meantone tuning, various best-practice tunings)
Audio only
Link to Wikipedia source
Link with single brackets: steelguitar
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- ↑ Video 1 - Webressource and licensing:
DaveB11th, CC BY 4.0 , via Wikimedia Commons
The original video is 3:14 minutes long. For demonstration purposes, an excerpt from 0:01 to 01:55 is shown here. - ↑ Eagledj, CC BY-SA 4.0 , via Wikimedia Commons
_used_in_playing_steel_guitar.jpg){kind=link}
7 Levels of Jazz Harmony
Neely-intonalism
In 2020 music educator Adam Neely picked up the term intonalism and used it in his Seven Levels of Jazz Harmony, with a somewhat different and rather ambiguous intent, where he seemed to describe the use of a tempered scale (often 12edo) for the lead melody of a piece. The current melody note at any given point in time is then treated as a reference pitch, and the current backing chord uses pure just intonation, tuned relative to the current reference pitch. In a sense this is an inverse form of adaptive just intonation where the bass line adjusts to a tempered scale and the melody and harmony notes tune to it.
To distinguish this form of intonalism from the other, you could call it Neely-intonalism.[idiosyncratic term]
Intonalism [9:12], Xenharmonic [10:46]
Fig.5 shows a comparison of four augmented chords that sound quite different.
Listen to the following audio examples...
Chord Play mode16 aug (16:20:25)
2 stacked pure 3rdsmode14 aug (14:18:22)
sounds equal to (7:9:11)mode11 aug (11:14:17)
no, this is not major...mode10 aug (10:13:16)
extra wide 3rdmode8 maj (8:10:12)
pure major for reference
Fig.6 shows a comparison of five different diminished chords.
Chord Play mode16 dim (16:19:22) mode14 dim (14:17:20) mode11 dim (11:13:15) mode10 dim (10:12:14) mode9 dim (9:11:13)
Fig.7 shows a selection of four different minor chords.
Chord Play mode26 min (26:30:39) mode16 min (16:19:24) mode12 min (12:14:18) mode10 min (10:12:15)
Fig.8 shows four varieties of what I call crossover (x-over) triads, all of which are rooted at 0 cents. Crossover triads are neither diminished nor augmented. From a major perspective, x-over chords incorporate a flattened third and a raised fifth.
Unlike minor or major chords, crossover triads are neither diminished nor augmented and do not incorporate a pure fifth.
Chord Play mode17 x-over (17:20:26) mode14 x-over (14:17:22) mode11 x-over (11:13:17) mode9 x-over (9:11:14)