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A Vietnamese monochord, called the Đàn bầu, also functions with the scale of harmonics. On this instrument only the right half (from the view of the musician) of the scale is present up to the limit of the first seven overtones (see 7-limit). The dots are on the string lengths 1/2, 1/3, 1/4, 1/5, 1/6, 1/7 of the whole stringlength. The reason for this half scale is because the left half creates the same tones as the right half when played as a flageolet tone and therefore the extra dots on the left half are useless for how this instrument is played.
The scale of harmonics was, together with the book of Helmholtz an inspiration for Harry Partch to switch to just intonation and alternate tuning systems to create more consonant music than possible with the equal temperament. Partch's tone selection otonality from his utonality and otonality concept are the complement pitches of the overtones. For instance: the frequency ratio 5:4 is equal to 4/5th of the string length and 4/5 is the complement of 1/5, the position of the fifth harmonic (and confusingly enough the fourth overtone!).
The Norwegian composer Eivind Groven also wrote a thesis on the scale of harmonics, claiming this to be the oldest usable scale, frequent in Norwegian folk music, and seemingly in other folk musical traditions as well. Groven used the seljefløyte as basis for his research. The flute uses only the upper harmonic scale.
The scale is also present on the Moodswinger. Although this functions quite differently than a Guqin, oddly enough the scale occurs on this instrument while it is not played in a just intonation tuning but a regular equal temperament.
Read more about this topic: Scale Of Harmonics
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