SAKryukov

:::: To me in music that is built from the bass upwards, the lowest bass serves as the driver of how the accompaniment moves- it is the line that all of the chords and stuff are built on top of, and the lowest bass line, along with the melody, both exert influence on one another at different times.  The problem I have with too many deep voices is that even thirds in the bass can sound rather grating when the notes in question are too low, more so than with higher pitches.  Higher pitches are more irritating when they're played in the wrong timbers and or when played too loud. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 19:09, 6 December 2020 (UTC)

: I'm busy with my platform and keyboard programming. I decided to take a much wider road: develop some more and some replacement visual components corresponding to different keyboards, including a new one suitable for your paradiatonic constructs — my idea is to present 7 scales at the same time on a single keyboard, still thinking of some form of switching modes on the fly, combined with transpositions, or something like that. At the same time, I implemented a prototype for the playable lattice presented by Kite Giedraitis: [[Color_notation|Color_notation]]. Even though it is called "notation", the main point here is the choice of the tonal system itself, which can be reduced to the choice of a 4-generator set, and its mapping to the geometry. (Why, why musicians often mess up musical and notation aspects together? Didn't they figure out that tight coupling is a big anti-pattern?) I've chosen to implement the 27-key variant, which I consider as a good variant of an "extended just" scale. Are you familiar with this particular system? What do you think? — [[User:SAKryukov|SA]], ''Sunday 2020 December 6, 18:39 UTC''