In general, and this may also be an oversimplification, even numbered overtones (with the fundamental being 1) are usually related to the fundamental by a 'perfect' interval (octave, fifth, or fourth). These will be more 'in tune' than the odd intervals. If you play a low B, and voice it up an octave, it should be in tune with the regularly fingered B.
I got interested in different systems of intonation while studying harmonic singing. Since harmonic singing can't 'tune' itself, adherents generally use a form of 'just' intonation.
Tuneing In, microtonality in Electronic Music by Scott Wilkerson has a very accessible explanation of tuning systems, including those espoused by Ling Lun (the first musical theorist), Pythagorus, Ptolemy, Ho Tcheng-Tien (who developed the first equal tempered tuning), well tempered (Werckmeister), just, mean-tone, Quarter tones, ethnic tunings, and an intonation system invented by Wendy Carlos.
[It's interesting to note that Indian ragas are based on 22 pure intervals (sruti). They are NOT quarter tone (24 tone equal temperment).]
So, you see, the subject of tuning is actually quite deep, and goes a LOT furthur than tuning to a Korg tuner.
I got interested in different systems of intonation while studying harmonic singing. Since harmonic singing can't 'tune' itself, adherents generally use a form of 'just' intonation.
Tuneing In, microtonality in Electronic Music by Scott Wilkerson has a very accessible explanation of tuning systems, including those espoused by Ling Lun (the first musical theorist), Pythagorus, Ptolemy, Ho Tcheng-Tien (who developed the first equal tempered tuning), well tempered (Werckmeister), just, mean-tone, Quarter tones, ethnic tunings, and an intonation system invented by Wendy Carlos.
[It's interesting to note that Indian ragas are based on 22 pure intervals (sruti). They are NOT quarter tone (24 tone equal temperment).]
So, you see, the subject of tuning is actually quite deep, and goes a LOT furthur than tuning to a Korg tuner.
