Lumatone mapping for 24edo: Difference between revisions

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== Barton + Diatonicized Chromaticism ==

If you want to keep octaves completely horizontal, you need to use the [[2L 5s]] (step ratio 7:2) [[Barton]] mapping, which makes more xenharmonic combinations of notes easy to play and familiar diatonic chords difficult. In particular, if one can work with several keys worth of backtracking for the small step (quarter-tone = 1\24), this mapping also supports [[Ivan Wyschnegradsky]]'s Diatonicized Chromaticism ([[11L 2s]]) scale. One problem (apart from the required backtracking) is that Ivan Wyschnegradsky composed for the full 88 note range of each of two (or sometimes four) pianos, while the range of this mapping is just one note short of five octaves; however, since each note is represented at least twice, one approach would be to shift this layout so as to produce two manuals, of which the lower manual would be for the bass octaves and the upper manual for the treble octaves, with overlap to ensure an easy transition between the divisions of the range.

If you want to keep octaves completely horizontal, you need to use the [[2L 5s]] (step ratio 7:2) [[Barton]] mapping, which makes more xenharmonic combinations of notes easy to play and familiar diatonic chords difficult. In particular, if one can work with several keys worth of backtracking for the small step (quarter-tone = 1\24), this mapping also supports [[Ivan Wyschnegradsky]]'s Diatonicized Chromaticism ([[11L 2s]]) scale. One problem (apart from the required backtracking) is that Ivan Wyschnegradsky composed for the full 88 note range of each of two (or sometimes four) pianos, while the range of this mapping is just one note short of five octaves; however, since each note is represented at least twice, one approach to work around this problem would be to shift this layout so as to produce two manuals, of which the lower manual would be for the bass octaves and the upper manual for the treble octaves, with two octaves of overlap between the right two octaves of the lower manual and the left two octaves of the upper manual to ensure an easy transition between the divisions of the range.

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 == Barton + Diatonicized Chromaticism ==
-If you want to keep octaves completely horizontal, you need to use the [[2L&nbsp;5s]] (step ratio 7:2) [[Barton]] mapping, which makes more xenharmonic combinations of notes easy to play and familiar diatonic chords difficult. In particular, if one can work with several keys worth of backtracking for the small step (quarter-tone = 1\24), this mapping also supports [[Ivan Wyschnegradsky]]'s Diatonicized Chromaticism ([[11L&nbsp;2s]]) scale. One problem (apart from the required backtracking) is that Ivan Wyschnegradsky composed for the full 88 note range of each of two (or sometimes four) pianos, while the range of this mapping is just one note short of five octaves; however, since each note is represented at least twice, one approach would be to shift this layout so as to produce two manuals, of which the lower manual would be for the bass octaves and the upper manual for the treble octaves, with overlap to ensure an easy transition between the divisions of the range.
+If you want to keep octaves completely horizontal, you need to use the [[2L&nbsp;5s]] (step ratio 7:2) [[Barton]] mapping, which makes more xenharmonic combinations of notes easy to play and familiar diatonic chords difficult. In particular, if one can work with several keys worth of backtracking for the small step (quarter-tone = 1\24), this mapping also supports [[Ivan Wyschnegradsky]]'s Diatonicized Chromaticism ([[11L&nbsp;2s]]) scale. One problem (apart from the required backtracking) is that Ivan Wyschnegradsky composed for the full 88 note range of each of two (or sometimes four) pianos, while the range of this mapping is just one note short of five octaves; however, since each note is represented at least twice, one approach to work around this problem would be to shift this layout so as to produce two manuals, of which the lower manual would be for the bass octaves and the upper manual for the treble octaves, with two octaves of overlap between the right two octaves of the lower manual and the left two octaves of the upper manual to ensure an easy transition between the divisions of the range.
 {{Lumatone EDO mapping|n=24|start=0|xstep=2|ystep=5}}
 {{Navbox Lumatone}}