User:Lucius Chiaraviglio/Keyboard Layout Lab: Difference between revisions
→Augmented + Immunity Lumatone mappings: Add Biyatismic Lumatone mappings after this, starting with Bryan Deister's Lumatone mapping for 68edo |
→68edo (demonstrated to work but awaiting approval): Fix up the text some, including description of reaching common consonant intervals |
||
| Line 18: | Line 18: | ||
=== 68edo (demonstrated to work but awaiting approval) === | === 68edo (demonstrated to work but awaiting approval) === | ||
[[Bryan Deister]] has used a [[Biyatismic clan#Zeus|Biyatismic (Zeus)]] layout with a [[7L 1s]] scale (9:5 step ratio) for [[68edo]], as demonstrated in [https://www.youtube.com/shorts/CO1AslAu9E0 ''microtonal improvisation in 68edo''] (2025). The rightward generator 9\68 is a combination of the Alpharabian tendoneutral second ~[[12/11]] and the undecimal submajor second ~[[11/10]], and two of these make a near-just classic minor third ~[[6/5]], with the biyatisma ([[121/120]]) being tempered out | [[Bryan Deister]] has used a [[Biyatismic clan#Zeus|Biyatismic (Zeus)]] layout with a [[7L 1s]] scale (9:5 step ratio) for [[68edo]], as demonstrated in [https://www.youtube.com/shorts/CO1AslAu9E0 ''microtonal improvisation in 68edo''] (2025). The rightward generator 9\68 is a combination of the Alpharabian tendoneutral second ~[[12/11]] and the undecimal submajor second ~[[11/10]], and two of these make a near-just classic minor third ~[[6/5]], with the biyatisma ([[121/120]]) being tempered out. The chroma of the scale (4\68, upwards on this layout) is the near-just diptolemaic chromatic semitone ~[[25/24]], and is convenient to use as a second generator (even though such is not required to avoid [[contorsion]]) to access other consonant intervals quickly, although sometimes with strange preferences built in — for instance, the septimal whole tone ~[[8/7]] is much easier to reach (at 13\68) than the Pythagorean whole tone ~[[9/8]] (which requires a substantial vertical reach at 12\68), while the septimal minor third ~[[7/6]] (at 15\18) is a much longer vertical reach than the classic minor third ~6/5 (at 18\68), and the septimal major third ~[[9/7]] is a much longer vertical reach (at 25\68) than the classic major third ~[[5/4]] (at 22\68)' fortunately the fourth (~[[4/3]], at 28\68) and fifth (~[[3/2]], at 40\68) are easy to reach as long as they do not go through a vertical wraparound (as happens to the fourth in the bass octave). | ||
{{Lumatone EDO mapping|n=68|start=64|xstep=9|ystep=-4}} | {{Lumatone EDO mapping|n=68|start=64|xstep=9|ystep=-4}} | ||
Added: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 06:33, 30 July 2025 (UTC) | Added: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 06:33, 30 July 2025 (UTC)<br> | ||
Last modified: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 07:32, 31 July 2025 (UTC) | |||
== Cantonismic Lumatone mappings == | == Cantonismic Lumatone mappings == | ||