RE: [tuning] 22 scale mapping

I wrote,

>> Well you still might want to try the other keyboard mapping in my paper,
>> which is a 12-tone mapping (octaves remain octaves), the full scale being
>> known as the hexachordal dodecatonic scale. It gives you a symmetrical
>> decatonic scale if you avoid B and F, and it gives you two different
>> pentachordal decatonic scales if you avoid either (B and E) or (C and F).

Joseph wrote,

>Manuel op de Coul was kind enough to send me the recent mapping file
>which leaves the "B's" unmapped, so I will enjoy experimenting with
>this...

>Thanks!

That's not was I was talking about. The one with Bs unmapped is similar
enough to the one with Es unmapped that I don't think it's worth exploring
both. I suggest the latter as a standard since most keyboards begin and end
on C, so that one gets a 2222 3 2222 3 2222 ... pattern on the black keys --
easy to remember.

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Paul!
On my two 22 tone organs, I used all the keys so that a fifth would always be a minor
ninth (not very interesting) but the 5/4 would look like a fifth a second a third. Yasser i
think would have appreciated such a thing. Kinda like an evolution of consonances looking the
same on a keyboard (its too bad the 3/2 doesn't fall on the octave.

"Paul H. Erlich" wrote:

> That's not was I was talking about. The one with Bs unmapped is similar
> enough to the one with Es unmapped that I don't think it's worth exploring
> both. I suggest the latter as a standard since most keyboards begin and end
> on C, so that one gets a 2222 3 2222 3 2222 ... pattern on the black keys --
> easy to remember.

-- Kraig Grady
North American Embassy of Anaphoria island
www.anaphoria.com

Thanks Kraig but my mapping has a much more rigorous logic -- see my paper.
Essentially, one could learn by first playing only in "keys" using only
black keys or at most one white key. This is analogous to a beginning
keyboardist in the standard Western system learning first on the white keys
alone.

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As of June 26, 2000, Acadian Asset Management will be at a
new location in Boston's financial district.

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All phone, fax and email remain the same.

Paul!
Maybe a different logic and better for what you want to do but not necessarily "a much
more rigorous logic". For me, having an interval all the same number of scale degrees
throughout is much more important. Whereas I can play minor 9th anywhere on the keyboard to
play a fifth, a major ninths from Bb to C or Eb to F is very hard for me to play. I tried
skipping keys, it didn't work or make sense to having the same ratio a different keysize.
Nothing logical about it to me, sorry. We also have different 22 tone scale. I hope to put up
soon the various ways it can br mapped onto a Bosanquet.

"Paul H. Erlich" wrote:

> Thanks Kraig but my mapping has a much more rigorous logic -- see my paper.
> Essentially, one could learn by first playing only in "keys" using only
> black keys or at most one white key. This is analogous to a beginning
> keyboardist in the standard Western system learning first on the white keys
> alone.
>
>

-- Kraig Grady
North American Embassy of Anaphoria island
www.anaphoria.com

Kraig Grady wrote:

> I tried skipping keys, it didn't work or make sense to having the
same ratio a different keysize

The ultimate application of my mapping is to physically remove all
the "E"s from the keyboard, and close up the resulting spaces, as
Steven Rezsutek actually did. See the last three figures of
http://www.cix.co.uk/~gbreed/instrum.htm (hey Graham, the last two
don't seem to be showing up). This combines the one key, one step
property that you value with the properties I value:

(a) scales look the same when transposed by an octave;

(b) the essential 7-limit scales -- decatonics -- are easy to see and
to play, using a system of key signatures that begins with all black
keys and alters these one-by-one to white keys.

Kraig Grady wrote,

>Yasser i think would have appreciated such a thing. Kinda like an evolution
of consonances looking the >same on a keyboard (its too bad the 3/2 doesn't
fall on the octave

I think my approach is actually much closer to Yasser's (see the fanciful
keyboards diagrammed in his book) in that there is a basic scale, with a
maximal number of consonances, appearing on all keys of one color, with the
keys of the other color representing alterations that arise either from
transposition or micro-chromaticism.

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Please contact us at:
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All phone, fax and email remain the same.