Matched Reciprocal Tuning

First posted to Stickwire 9/1/97

To: Stickwire
From: stick@earthlink.net (Stick Enterprises, Inc.)
Subject: Matched Reciprocal (TM) Tunings

For convenience I've come around to using my trademarked term, "Matched Reciprocal", for any tuning of any number of strings where the two string groups are of equal size, i.e. 5+5 or 6+6, with identical lettered notes at any given fret between all of the descending 4ths and ascending 5ths.

It started with the 6+6 Grand Stick tuning I now use, where the melody strings are down a whole tone from standard tuning, the first, highest melody string being a "C", corresponding to the 7th, lowest bass string at "C".

I guess I should let you all know that it has also come to apply to the 10-string Stick where the first, highest melody string is also tuned down a whole tone to "C" (from standard "D"). The rest of the strings all match in letter named notes as the melody goes down in 4ths and the bass "reciprocally" goes up in 5ths. "Matched Reciprocal" also includes all variations where all ten or twelve strings are equally raised or lowered in pitch.

In itself, there is no great advantage in having such a complete match of notes per fret (or at the zero fret as in open tuning). There is however a reward of a different kind in store for the experimenter. Just detune your melody strings by a whole tone, or else tune your bass strings a whole tone higher (you can commit to a proper string set later if you like either one of these). The musical "reward" is a new scale position "number 1", where index fingers of both hands are at their closest modally related positions, three frets apart. My post of 4 July '95 to Stickwire entitled "Deep Baritone Melody" explains this.

Thanks to Jason for pointing out the need for clarification of these terms.

All the Best,
Emmett