Unlike divisions of the octave into
19,
31 or
53 steps, which can be considered as being derived from ancient Greek intervals (the greater and lesser
diesis and the
syntonic comma), division into 34 steps did not arise 'naturally' out of older music theory, although
Cyriakus Schneegass proposed a
meantone system with 34 divisions based in effect on half a
chromatic semitone (the difference between a
major third and a
minor third, 25:24 or 70.67 cents). Wider interest in the tuning was not seen until modern times, when the computer made possible a systematic search of all possible equal temperaments. While Barbour discusses it, the first recognition of its potential importance appears to be in an article published in 1979 by the Dutch theorist Dirk de Klerk. The luthier Larry Hanson had an electric guitar refretted from 12 to 34 and persuaded American guitarist Neil Haverstick to take it up. As compared with 31-et, 34-et reduces the combined mistuning from the theoretically ideal just thirds, fifths and sixths from 11.9 to 7.9 cents. Its fifths and sixths are markedly better, and its thirds only slightly further from the theoretical ideal of the 5:4 ratio. Viewed in light of Western diatonic theory, the three extra steps (of 34-et compared to 31-et) in effect widen the intervals between C and D, F and G, and A and B, thus making a distinction between
major tones, ratio 9:8 and
minor tones, ratio 10:9. This can be regarded either as a resource or as a problem, making
modulation in the contemporary Western sense more complex. As the number of divisions of the octave is even, the exact halving of the octave (600 cents) appears, as in 12-et. Unlike 31-et, 34 does not give an approximation to the harmonic seventh, ratio 7:4. ==Interval size==