Harpejji: Difference between revisions

Line 9:

C D E F# G# Bb c d e f# g# bb

~~However,~~ the ~~same general idea for a~~ layout ~~can also be applied to any chain~~-~~of-fifths EDO,~~ and ~~the only difference is what shape the unisons take on the fretboard. (For a rank~~-~~2 chain~~-of-~~fifths tuning which is not an EDO, there will be no unisons on different strings).~~

Note that the diatonic scale appears in two different shapes in this layout: an up-and-to-the-right shape:

For example, a 19edo Harpejji layout might look like this:

c' d'

f g a b

c d e

F G A B

C D E

and also a down-and-to-the-right shape, which is less compact:

E

F G A B

c d e

f g a b

The same general idea for a layout can also be applied to any chain-of-fifths EDO, but only one of these diatonic scale shapes will be preserved. Also, the shapes that unisons between different strings take will be different. (For a rank-2 chain-of-fifths tuning which is not an EDO, there will be no unisons on different strings at all.)

For example, a 19edo Harpejji layout (based on preserving the up-and-to-the-right shape of the diatonic scale) might look like this:

F G A B c# d# e# gb ab bb c' d'

Line 21:

Line 36:

To interpret this, keep in mind that C-D is 3 steps of 19edo, E-F is 2 steps, and # and b modify pitches by 1 step. Thus there is a consistent spacing of 3 steps between adjacent strings (columns), and adjacent frets (rows) are 2 steps apart. (In contrast to 12edo, G#-Ab is not a unison but E#-Fb is.)

As you can see, the (meantone) diatonic scale has exactly the same shape on the fretboard, and the main difference compared to the 12edo layout is that unisons are no longer a knights-move away on adjacent strings (2 up and 1 left). Instead, in 19edo the unisons are 3 up and 2 left.

As you can see, the up-and-to-the-right (meantone) diatonic scale has exactly the same shape on the fretboard, and the main difference compared to the 12edo layout is that unisons are no longer a knights-move away on adjacent strings (2 up and 1 left). Instead, in 19edo the unisons are 3 up and 2 left. This means the down-and-to-the-right shape doesn't work the same way anymore, since from E you have to skip over E# to get to F.

An alternative layout for 19edo, based on preserving the shape of the down-and-to-the-right shape of the diatonic scale, looks like this:

Eb F G A B c# d# f# gb ab bb c'

D# E# Gb Ab Bb c d e f# g# a# cb

D E F# G# A# cb db eb f g a b

Db Eb F G A B c# d# e# gb ab bb

C# D# E# Gb Ab Bb c d e f# g# a#

C D E F# G# A# cb db eb f g a

Cb Db Eb F G A B c# d# e# gb ab

While the previous 19edo layout had successive frets spaced at a distance of 2 19edo steps from each other, this layout instead has every 19edo step as its own fret. This could be a disadvantage in that the spaces between frets might become too small for the fingers in the high register.

@@ Line 9: / Line 9: @@
   C  D  E  F# G# Bb c  d  e  f# g# bb
-However, the same general idea for a layout can also be applied to any chain-of-fifths EDO, and the only difference is what shape the unisons take on the fretboard. (For a rank-2 chain-of-fifths tuning which is not an EDO, there will be no unisons on different strings).
+Note that the diatonic scale appears in two different shapes in this layout: an up-and-to-the-right shape:
-For example, a 19edo Harpejji layout might look like this:
+                               c' d'
+                      f  g  a  b
+                c  d  e
+       F  G  A  B
+ C  D  E
+and also a down-and-to-the-right shape, which is less compact:
+ E
+    F  G  A  B
+                c  d  e
+                         f  g  a  b
+The same general idea for a layout can also be applied to any chain-of-fifths EDO, but only one of these diatonic scale shapes will be preserved. Also, the shapes that unisons between different strings take will be different. (For a rank-2 chain-of-fifths tuning which is not an EDO, there will be no unisons on different strings at all.)
+For example, a 19edo Harpejji layout (based on preserving the up-and-to-the-right shape of the diatonic scale) might look like this:
   F  G  A  B  c# d# e# gb ab bb c' d'
@@ Line 21: / Line 36: @@
 To interpret this, keep in mind that C-D is 3 steps of 19edo, E-F is 2 steps, and # and b modify pitches by 1 step. Thus there is a consistent spacing of 3 steps between adjacent strings (columns), and adjacent frets (rows) are 2 steps apart. (In contrast to 12edo, G#-Ab is not a unison but E#-Fb is.)
-As you can see, the (meantone) diatonic scale has exactly the same shape on the fretboard, and the main difference compared to the 12edo layout is that unisons are no longer a knights-move away on adjacent strings (2 up and 1 left). Instead, in 19edo the unisons are 3 up and 2 left.
+As you can see, the up-and-to-the-right (meantone) diatonic scale has exactly the same shape on the fretboard, and the main difference compared to the 12edo layout is that unisons are no longer a knights-move away on adjacent strings (2 up and 1 left). Instead, in 19edo the unisons are 3 up and 2 left. This means the down-and-to-the-right shape doesn't work the same way anymore, since from E you have to skip over E# to get to F.
+An alternative layout for 19edo, based on preserving the shape of the down-and-to-the-right shape of the diatonic scale, looks like this:
+ Eb F  G  A  B  c# d# f# gb ab bb c'
+ D# E# Gb Ab Bb c  d  e  f# g# a# cb
+ D  E  F# G# A# cb db eb f  g  a  b
+ Db Eb F  G  A  B  c# d# e# gb ab bb
+ C# D# E# Gb Ab Bb c  d  e  f# g# a#
+ C  D  E  F# G# A# cb db eb f  g  a
+ Cb Db Eb F  G  A  B  c# d# e# gb ab
+While the previous 19edo layout had successive frets spaced at a distance of 2 19edo steps from each other, this layout instead has every 19edo step as its own fret. This could be a disadvantage in that the spaces between frets might become too small for the fingers in the high register.