Xenharmonic Wiki

Lumatone mapping for 63edo

Revision as of 06:15, 10 August 2026 by Lucius Chiaraviglio (talk | contribs) (→Fog: Insert Bryan Deister's Fog-Related Neutral Seconds Lumatone mapping before this)
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There are many conceivable ways to map 63edo onto the onto the Lumatone keyboard. Only one, however, agrees with the Standard Lumatone mapping for Pythagorean.

Diatonic

However, to the size of the edo, this mapping does not quite cover all the notes. In addition, the best approximation to 5/4 is the quadruply diminished or pentuply augmented 6th, which is extremely awkward to play with the root and 5th. The second best is shared with 12edo and is a triply augmented unison, which is slightly more ergonomic but still a tough stretch to play as a chord one-handed. Despite the missing notes, Bryan Deister has used this mapping, to make use of near-just ~14/11 major thirds instead of ~5/4 major thirds, in Venus as a Boy - Björk (microtonal cover in 63edo) (2025).

 
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Pseudo-Isomorphic Pseudo-Diatonic

Bryan Deister has used a pseudo-isomorphic pseudo-diatonic mapping laid out as for 64edo, but with note 63 actually being a duplicate of note 0 (but it is off the edge, so not visible unless this mapping would be used on a hypothetical XL-sized Lumatone). This is demonstrated in 63edo improv (2025-10-19), with a monochrome color scheme for additional challenge.

 
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Sevond-related

Since 63edo is a multiple of 7edo, it can be used with a mapping that divides the octave into seven parts in the manner of whitewood, but with more accuracy due to having a much better fifth; in this case, the actual temperament is related to sevond, but unlike actual sevond, it uses a near-just septimal minor second ~7/6 as its generator, which is 1/7-octave-reduced from 14\63 to 5\63. The 1/7-octave (9\63) is mapped most practically as a slightly flat undevicesimal submajor second ~21/19, resulting in the reduced generator (5\63) being a slightly sharp large undevicesimal semitone ~19/18. Bryan Deister has used this mapping in 63edo double improv (2026). The range is 4⅓ octaves (with only one repeated note in each octave), which slope upwards with the rows.

 
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Sevond

In the 7L 1s (8:7 step ratio) sevond mapping, the octave is split into seven equal parts (9\63), as above, but the period is reached by moving one key right plus one key up, and the rightward keyboard mapping generator 8\63 is one seventh part of the octave minus one minimal form Sevond generator (1\63, made by 1/7-octave-reducing the fifth ~3/2). Unfortunately this does not lend itself to producing common intervals conveniently, unless by chance the intervals happen not to cross a vertical wraparound, the position of which shifts considerably when ascending in octaves.

 
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Sensi-related (non-Superleap) or Enneaportent

Like sensi, this 3L 5s (11:6 step ratio) mapping uses a slightly sharp septimal major third (~9/7, as 23\63), and two of these stack to a classic major sixth (~5/3); however, unlike actual Sensi, this generator is not equated to the tridecimal semisixth (~13/10 — instead of being tempered out, the superleap comma 91/90 is mapped very accurately to 1\63). As an alternative to 23\63, the actual keyboard rightward generator 6\63 (functioning as ~~15/14 and ~16/15) can be used if the octave is divided into nine equal parts, making it one ninth part of the octave minus one minimal form generator, analogously to the Sevond mapping above, but in this case corresponding to the Marvel temperament Enneaportent. Unfortunately, the fourth ~4/3 and the fifth ~3/2 are inconveniently situated relative to the root note, and highly subject to the vagaries of vertical wraparound.

 
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As noted above, neither of these makes consonant chords particularly easy to play. The Fog and Magic mappings have smaller ranges, but are more harmonically effective.

Fog-Related Neutral Seconds

In 63edo, it is possible to divide the octave into three parts, each 21\63 being a mildly sharp fwiwismic major third ~44/35 (or more accurately but less practically, a near-just undetricesimal major third ~29/23), with a 3L 3s scale (13:8 step ratio), similar to fog. Unlike actual fog, the generator is a slightly flat undecimal neutral second ~12/11, with the layout being designed for easy access to intervals that are close to common consonant intervals, but different (including the generator itself). The range is over five octaves, which is too much to include all of the notes in a standard-sized Lumatone. Despite the missing notes, Bryan Deister has used this mapping in 63edo improv (2026-08-03), with the xenharmonic intervals forming a sound flavor that seems both Gaelic and Middle-Eastern.

 
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Fog

Actual fog splits the octave into three parts with a 3L 6s scale (11:5 step ratio), and uses a rightward generator 5\63, which functions as as sharp (and inconsistently mapped) septimal minor semitone ~21/20 and a flat undecimal semitone ~35/33, derived by 1/3-octave reduction of the fourth ~4/3. Two of these make a near-just Quasi-meantone ~19/17; three of them make a somewhat flat classic major third ~5/4, from which the fifth ~3/2 is easily reachable by moving down-right. This mapping has the disadvantage of many notes in the bottom and top octaves being cut off by the left and right edges, but at least no notes are missing out of the middle octaves (although this mapping offers only two of these).

 
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Magic

The generator for Magic (with a 3L 7s scale having a 14:3 stepratio) is a classic major third ~5/4 as 20\63 (which is somewhat flat), and going down three of them and octave-reducing produces 3\63, the rightward generator of this mapping, whereas going up seven of these generators and octave-reducing yields 14\63, the down-right generator of this layout; stopping at the in-between point of five temperament generators up (octave-reduced) yields the fifth ~3/2 at 37\63; of all of these intervals, the root note, major third, and fifth make a nearly horizontal and just slightly curved line segment, making at least the major triad easy to reach and not likely to be interrupted by a vertical wraparound. Again, this mapping does share the disadvantage with the previous mappings of having many notes of the bottom and top octaves being cut off by the left and right edges.

 
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10

Aureus Pseudo-Meantone

Bryan Deister has demonstrated a 6L 1s (10:3 step ratio) mapping for 63edo in microtonal improvisation in 63edo (2025). The generator 10\63 is the quasi-meantone ~19/17, which is composed of highly inaccurate harmonics whose errors nearly cancel out, rendering it just slightly flat; two of them make a somewhat flat classic major third ~5/4. (In contrast to actual meantone temperament, 63edo represents ~19/17, ~10/9, and ~9/8 as distinct intervals — the syntonic comma 81/80 is not tempered out, and instead the aureusma 1445/1444 equates two quasi-meantones to a classic major third.) Although 10\63 can reach all of the notes of 63edo without the need for a second generator, a second generator 7\63 (upward, as a tridecimal supraminor/neutral second that functions as both ~13/12 and ~14/13) is convenient for quick access to additional common intervals — for instance, three rightward generators plus one upward generator reach the just slightly sharp fifth ~3/2; while five rightward generators minus one upwards generator reach a mildly sharp minor sixth ~8/5. The range is somewhat over four octaves (which slant up mildly) with no missed notes and no repeated notes.

 
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16
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39
49
2
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62
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61
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58
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61
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