It would be of further interest to do this for each course so as to see the 
different chromatic/diatonic semitone relationships between all the courses. 

Alexander Batov <[EMAIL PROTECTED]> wrote:   Palmer orpharion: fret positions 
and their corresponding temperaments.

The + sign shows which temperament each individual fret position is closest 
to. It is assumed that the first course is tuned to the nominal G (which should 
not be confused with the absolute pitch!) and that the following sequence of 
chromatic and diatonic semitones is produced when it is fingered on 1st to 
11th frets: g#, a, b-flat, b, c, c#, d, e-flat, e, f, f# (* sign signifies 
if a-flat is chosen instead of g#).

As for the bass side of the fingerboard, one would need a full-size drawing 
to determine fret distances along the line of the 6th course. So the 
calculations
are made following the same sequence of intervals (i.e. as for the first 
course),
as well as on the assumption that the 6th course is there instead of the 9th.
The results show how far from any fixed arrangement fret positions are, which 
is, in a way, hardly surprising. At the same time, fret positions on both the
treble and bass sides are fairly congruous (with the exception perhaps for the
7th fret).

TREBLE BASS

frets 1/4 1/5 1/6 1/8 equal 1/4 1/5 1/6 1/8 equal

1 * + * +
--------------------------------------------------
2 + +
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3 + +
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4 + +
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5 + +
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6 + +
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7 + +
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8 + +
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9 + +
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10 + +
--------------------------------------------------
11 + + 
--

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