MICROTONAL MUSIC TUTORIAL

Ever felt like you've hit a creative wall with conventional scales? You know those moments when you're noodling around on your guitar, convinced there's a perfect note hiding somewhere between the frets—but your instrument won't give it to you? That frustration has a solution, and it's called microtonal music.

Here's the thing most people don't realize: the twelve-note system we all grew up with is basically arbitrary. Western music locked itself into twelve-tone equal temperament a few centuries back for practical reasons (mostly so keyboard instruments could play in any key without retuning), but that meant sacrificing a whole universe of pitches that exist between those notes. Microtonal music reclaims those lost intervals.

This tutorial walks you through exactly how to start exploring microtonal music—no advanced music theory degree required. We'll cover what microtones actually are, which tuning systems make sense for beginners, how to modify your instruments (or which ones to buy), and practical exercises to get your ears adjusted. If you're already comfortable with progressive rock composition techniques, you'll find microtonal approaches push your creativity even further.

WHAT ARE MICROTONES? (THE 5-MINUTE EXPLANATION)

Alright, quick music theory refresher without getting too academic: In standard Western music, an octave gets divided into twelve equal semitones (half steps). That's what gives us the familiar chromatic scale: C, C♯, D, D♯, E, F, F♯, G, G♯, A, A♯, B, then back to C. Each step is exactly 100 cents apart (a cent being 1/100th of a semitone—music theorists love precise measurements).

Microtones are any pitches that fall between those twelve notes. The most common microtonal system uses quarter tones—intervals of 50 cents that split each semitone in half. That gives you 24 pitches per octave instead of twelve. But you can go way beyond that. Some systems use 31, 53, or even 72 equal divisions of the octave (abbreviated as 31-EDO, 53-EDO, 72-EDO, where EDO stands for "Equal Divisions of the Octave").

The fascinating thing about microtones is that they're not some modern experimental gimmick. Traditional music from the Middle East, India, and Turkey has used microtonal intervals for centuries—their scales naturally include quarter tones and other divisions that don't map to our Western keyboard. We're the weird ones for limiting ourselves to twelve notes, not them.

WHY EXPLORE MICROTONAL MUSIC?

Okay, so you can play notes between the regular notes. Why would you actually want to? Fair question. Here are the three main reasons musicians get hooked on microtonal approaches:

Progressive rock has always pushed boundaries—from King Crimson's dissonant experiments to pioneering synthesizer explorations. Microtonality represents the next frontier for musicians who've exhausted the possibilities of standard tuning.

PRACTICAL TUNING SYSTEMS FOR BEGINNERS

Here's where things get practical. You don't need to jump straight into 53-EDO madness. Start with systems that give you immediate results without overwhelming complexity. Based on my own experimentation and conversations with microtonal musicians, here are the three most beginner-friendly approaches:

SYSTEM #1: 24-EDO (QUARTER TONES)

This is your starting point, no question. 24-EDO divides each octave into 24 equal steps of 50 cents each. Practically speaking, you're just adding one fret between each existing fret on a guitar. According to Pro Audio Files, "24-EDO is the gateway system for Western musicians because it's conceptually simple—you're basically dealing with half-sharps and half-flats."

Why 24-EDO works for beginners:

• Retains familiar intervals: All your standard semitones are still there, plus new quarter-tone options
• Relatively easy modification: Guitar techs can add extra frets without radical reconstruction
• Growing community: King Gizzard and the Lizard Wizard's Flying Microtonal Banana album popularized 24-EDO, so there's tons of reference material available
• Software support: Most DAWs and tuning software include 24-EDO presets

SYSTEM #2: JUST INTONATION (PURE RATIOS)

Just intonation is a completely different approach. Instead of dividing the octave into equal mechanical steps, just intonation uses whole number frequency ratios between notes. For example, a perfect fifth in just intonation has a 3:2 ratio—the higher note vibrates exactly 1.5 times faster than the lower note.

This produces incredibly pure, beatless intervals. The harmonies sound richer and more resonant than equal temperament. The catch? You're locked into specific keys. A just intonation scale tuned for C major sounds gorgeous in C major but increasingly out-of-tune as you modulate away. That's why Western classical music abandoned just intonation centuries ago.

For contemporary musicians, just intonation works best for:

• Drone-based compositions (lots of notes sustained against a fundamental)
• Ambient and experimental music where modulation isn't necessary
• Conceptual pieces exploring pure harmonic relationships

The free software Scala makes experimenting with just intonation accessible—it includes over 2,000 preset scales you can load into software instruments.

SYSTEM #3: 31-EDO (MEANTONE ALTERNATIVE)

Once you're comfortable with 24-EDO, 31-EDO offers fascinating possibilities. With 31 divisions per octave (approximately 38.7 cents each), you get intervals that approximate just intonation more closely than standard 12-EDO while maintaining the flexibility to modulate freely.

Historically, 31-EDO relates to meantone temperament, a tuning system used in Renaissance and Baroque music. It produces major thirds that sound significantly sweeter than equal temperament thirds. For progressive rock musicians interested in baroque or early music influences, 31-EDO bridges historical tuning practices with modern experimentation.

The downside? Physical instruments become much harder to build. Adding 19 extra frets to a guitar creates serious ergonomic challenges. That's why most 31-EDO exploration happens on synthesizers and digital instruments where tuning is just a software setting.

INSTRUMENT OPTIONS: MODIFIED VS. PURPOSE-BUILT

Okay, you're sold on trying microtones. Now you need an instrument that can actually play them. You've got three main paths here, each with different trade-offs:

PATH 1: MODIFY AN EXISTING GUITAR

This is what King Gizzard did, and it's probably your most practical option. Frontman Stu Mackenzie had Australian luthier Zac Eccles add extra frets to his guitars specifically for quarter tones in predetermined keys. The band's distinctive yellow "Flying Microtonal Banana" guitar became iconic precisely because it looked like a normal guitar with weird extra frets.

According to Microtonal Guitar Music Technologies, professional microtonal fretboard installation typically costs $300-600 depending on the density of frets. For 24-EDO (quarter tones), you're adding 12 extra frets per octave. The installation process involves:

1. Removing the original frets carefully to preserve the fretboard
2. Calculating precise placement for microtonal frets (using mathematical formulas or templates)
3. Cutting fret slots and installing twice as many frets
4. Re-leveling and crowning all frets for proper intonation
5. Setting up the guitar with appropriate string action

The main challenge? Your guitar becomes harder to play. More frets mean less space for your fingers, especially higher up the neck. You'll need to adjust your technique and accept some awkwardness initially.

PATH 2: BUY A PURPOSE-BUILT MICROTONAL INSTRUMENT

Several manufacturers now produce microtonal guitars designed from scratch. Eastwood Guitars' Custom Shop Phase 4 MT offers a factory-built 24-fret-per-octave guitar starting around $2,200. JLJ Instruments creates custom microtonal necks for Stratocaster, Telecaster, and Jazzmaster bodies with build slots booking months in advance.

Purpose-built instruments solve the ergonomic issues because they're designed around the denser fret spacing. Neck width, fret height, and string spacing all get optimized for microtonal playing. The trade-off is obvious: cost. You're looking at $1,500-3,000 minimum for professional microtonal guitars.

PATH 3: SOFTWARE INSTRUMENTS AND FRETLESS OPTIONS

Not ready to commit to hardware modifications? Software synthesizers give you unlimited microtonal flexibility. Any number of microtuned scales can be created using Scala software, which lets you download over 2,000 preset scales for virtual instruments. Both the Dave Smith Instruments Prophet 6 and OB-6 allow loading Scala files via MIDI sysex, while the Rev2 has built-in alternate tunings.

Korg released its Monologue synthesizer with microtuning features overseen by Aphex Twin, who uses microtuning to create distinctively quirky bass and lead synth sequences. For progressive rock compositions that already rely heavily on keyboards and synths, this is your easiest entry point.

Fretless guitars and basses naturally access microtonal pitches—you're just sliding your finger to whatever pitch you want, no fret modifications required. The challenge becomes accuracy and muscle memory since you don't have physical markers for pitch locations. Classical violinists and upright bass players have been doing this forever, so it's definitely learnable.

YOUR FIRST 24-EDO SCALE (STEP-BY-STEP)

Enough theory—time to actually play something. Here's a practical exercise to get your fingers and ears adjusted to quarter tones using 24-EDO:

STEP 1: UNDERSTAND THE FRETBOARD LAYOUT

On a 24-EDO guitar, you've got double the frets. Each standard fret position now has a quarter-tone fret sitting right next to it. Think of it like this:

• Standard fret: C (0 cents)
• Quarter-tone fret: C quarter-sharp (50 cents)
• Next standard fret: C♯/D♭ (100 cents)
• Quarter-tone fret: C♯ quarter-sharp / D quarter-flat (150 cents)
• Next standard fret: D (200 cents)

The quarter-tone frets are typically slightly thinner or marked differently so you can distinguish them by feel.

STEP 2: PLAY A NEUTRAL SECOND SCALE

Start with something called a neutral second scale—a pattern that uses three-quarter-tone steps (150 cents each). This creates an exotic sound similar to some Middle Eastern makam scales. Here's a simple pattern starting on E (low E string, 12th fret):

E (12th fret, standard)
E 3/4-sharp (fret 12 + fret 12.5 + fret 13)
F♯ 1/2-sharp (fret 14 + fret 14.5)
G♯ 1/4-sharp (fret 16 + fret 16.5)
A 3/4-sharp (fret 17 + fret 17.5 + fret 18)
B 1/2-sharp (fret 19 + fret 19.5)
C♯ 1/4-sharp (fret 21 + fret 21.5)
E (octave)
          

Play this ascending and descending slowly. It'll sound weird at first—your brain is wired to expect familiar intervals, and these quarter-tone steps trigger a cognitive dissonance response. That's normal. After playing it 10-15 times, you'll start hearing it as a coherent musical statement rather than random out-of-tune notes.

STEP 3: CREATE SIMPLE MELODIES

Once you're comfortable with that scale pattern, improvise short melodies using just those notes. Don't worry about harmony or chords yet—stay monophonic (single-note melodies). The goal is training your ear to recognize quarter-tone intervals as musically valid rather than mistakes.

Experiment with:

• Slow, sustained notes (let each pitch sink in)
• Stepwise motion using the quarter-tone steps
• Ornaments and trills between standard and quarter-tone frets
• Recording yourself and listening back (your perception changes when you're not focused on playing)

EAR TRAINING FOR MICROTONAL INTERVALS

Here's the uncomfortable truth: microtonal music requires retraining your ears, and that takes time. You've spent your entire musical life internalizing twelve-tone equal temperament. Those neural pathways are deep. Quarter tones initially trigger your brain's "that's out of tune" alarm because they violate learned expectations.

Research from music psychology shows that pitch perception is culturally conditioned, not universal. People raised on Western music literally hear certain intervals as "right" and others as "wrong" based on exposure, not acoustic properties. The good news? That conditioning can be updated through deliberate practice.

EAR TRAINING EXERCISES

Be patient with yourself. Most microtonal musicians report needing 3-6 months of regular practice before quarter tones stop sounding wrong and start sounding interesting. That's not a deficiency—it's just how long it takes to rewire deeply ingrained perceptual habits.

COMPOSITION TIPS: MAKING MICROTONES MUSICAL

The biggest mistake beginners make with microtonal music? Treating it like a gimmick—just throwing in quarter tones randomly for weirdness without musical purpose. That gets old fast. Here's how to use microtones as genuine compositional tools:

TIP #1: USE MICROTONES FOR MELODIC ORNAMENT

You don't need to abandon standard harmony entirely. Start by writing chord progressions using conventional intervals, then add microtonal embellishments to the melody. Think of quarter tones as super-expressive bends or ornaments. A quarter-flat approach to a target note creates tension and release in ways standard chromaticism can't match.

This approach appears throughout progressive rock already through guitar bends and slide techniques. Formalizing it with actual microtonal frets gives you precision and repeatability.

TIP #2: EXPLORE NEUTRAL INTERVALS

Certain quarter-tone intervals work better than others for Western ears. Neutral intervals—pitches that fall between major and minor (like a neutral third at 350 cents, splitting the difference between minor and major thirds)—sound especially compelling. They're ambiguous enough to create harmonic intrigue without triggering the "that's out-of-tune" response as strongly as some other microtonal intervals.

Arabic maqam scales use neutral intervals extensively, which is why they sound exotic but still musical to Western listeners. Stealing that approach is perfectly legitimate.

TIP #3: ESTABLISH TONAL CENTERS

Even in microtonal music, having a tonal center (a home pitch that feels resolved) helps listeners orient themselves. You can use any pitch as your tonal center—doesn't have to be a standard twelve-tone pitch. But consistently returning to that center and building tension through departures keeps the composition coherent rather than random.

This principle applies equally to conventional and microtonal composition, as discussed in our guide to progressive rock songwriting.

TIP #4: LAYER MICROTONAL AND STANDARD INSTRUMENTS

Who says your entire ensemble needs to be microtonal? Try pairing a microtonal guitar with a standard-tuned bass and drums. The bass can hold down conventional harmonic progressions while the guitar adds microtonal color on top. This hybrid approach makes the music more accessible while still showcasing those unique intervals.

King Gizzard uses this technique—not every instrument in their microtonal recordings uses quarter tones. Strategic deployment creates impact without overwhelming listeners.

MODERN EXAMPLES AND INSPIRATION

Need some concrete inspiration? Here are contemporary artists pushing microtonal music in progressive and experimental rock contexts:

KING GIZZARD & THE LIZARD WIZARD

The Australian psych-rock outfit released an entire trilogy of microtonal albums: Flying Microtonal Banana (2017), K.G. (2020), and L.W. (2021), all using 24-EDO. Their microtonal work started when frontman Stu Mackenzie experimented with traditional Turkish instruments like the bağlama and Persian setar, then asked luthier Zac Eccles to create guitars capable of those quarter-tone intervals.

What makes King Gizzard's approach work is that they don't dwell on the microtonality—it's just part of their sonic palette alongside heavy riffs, krautrock rhythms, and psychedelic textures. The quarter tones add exotic flavor without making the music inaccessible. Check out tracks like "Rattlesnake" and "Sleep Drifter" to hear how they integrate microtones into groovy, head-nodding rock.

ANGINE DE POITRINE

This Quebec duo exploded online in February 2026 after their KEXP performance went viral (over 3.5 million views). Khn de Poitrine plays a self-modified 24-fret-per-octave double-neck guitar, creating a dense, disorienting blend of jazz, prog, math rock, and global influences.

Critics compare them to King Crimson for their aggressive complexity and willingness to make listeners uncomfortable. Their second album Vol. II dropped April 3, 2026, and showcases how microtonal techniques can serve genuinely challenging progressive music rather than just sounding "exotic."

SEVISH (ELECTRONIC MICROTONAL PRODUCER)

While not strictly progressive rock, UK producer Sevish demonstrates how electronic production allows unlimited microtonal experimentation. He works primarily in 22-EDO and various just intonation systems, creating intricate IDM and breakcore that sounds simultaneously alien and groovy. His albums are free on Bandcamp and serve as excellent ear training material—repeated listening gradually makes the unusual intervals feel natural.

HISTORICAL TOUCHSTONES

Progressive rock has flirted with microtonality since its inception. King Crimson's Robert Fripp experimented with non-standard tunings throughout the 1970s and '80s. Experimental composer Harry Partch built an entire orchestra of custom microtonal instruments in the mid-20th century, creating a 43-tone scale based on just intonation ratios. While Partch's work is more avant-garde than rock, his commitment to expanding the pitch palette influenced generations of experimental musicians.

If you're serious about understanding microtonal possibilities beyond 24-EDO basics, studying Partch's theoretical writings alongside his recordings reveals how deeply you can go into alternative tuning systems. Just prepare for some challenging listening—his music is beautiful but demands patience.

GETTING STARTED: YOUR NEXT STEPS

You've made it through the tutorial, so here's your practical action plan for actually diving into microtonal music rather than just reading about it:

1. Download Scala: Get the free Scala tuning software and load microtonal scales into a software synth or DAW. This costs nothing and lets you experiment immediately.
2. Listen extensively: Create a playlist mixing King Gizzard's microtonal albums, traditional Turkish music, and Arabic maqam recordings. Regular exposure retrains your ears faster than any exercise.
3. Start with 24-EDO: If you're modifying a guitar or buying a microtonal instrument, stick with quarter tones initially. Don't jump to 31-EDO or 53-EDO until you're comfortable with 24.
4. Record everything: Your perception shifts dramatically when you're not focused on playing. Record your microtonal experiments and listen back critically. What sounds weird in the moment often sounds musical in retrospect.
5. Connect with the community: The microtonal music community is small but passionate. Forums like Microtonal Theory and the Facebook Xenharmonic Alliance group offer support, technical advice, and collaboration opportunities.

Microtonal music represents one of the last truly unexplored frontiers in Western music. We've exhausted most possibilities within twelve-tone equal temperament—every chord progression has been used, every melody feels derivative. Quarter tones and alternative tuning systems unlock genuinely new sonic territory.

For progressive rock musicians specifically, microtonality aligns perfectly with the genre's core values: technical ambition, willingness to challenge listeners, and refusal to accept arbitrary limitations. Just as pioneering guitar effects expanded the sonic palette in the 1970s, microtonal approaches expand the pitch palette today.

The learning curve is real—expect some frustration and confusion initially. But stick with it. That moment when quarter tones stop sounding out-of-tune and start sounding like expressive musical tools? That's when microtonal music clicks, and suddenly you've got an entire universe of new possibilities at your fingertips.