![]() ![]() My approach is to use the highest possible edo scales within each new keyboard design. ![]() I use equal divisions of the octave as a method of pitch division because it is a rudimentary and self-explanatory element to begin from in my early explorations of auditory limits of pitched-sound differentiation. A simple association can be made with a continuum of flatness to sharpness for each reference pitch (chromatic or other) to the visual color sequence we already know from the experience of seeing rainbows and other light diffraction phenomena. The pitch-color concept is intuitive by way of an easy association of micro-pitch to the visual color spectrum-from infrared to ultraviolet. This enables an efficiency of learning and possibility of using of multiple pitch scales (simultaneously or via ‘modulations’), all under a unifying and intuitive pitch-color concept. Unique pitch definitions are defined at the beginning of each composition. In this way, the language says remains generally consistent, while being adaptable to any conceivable pitch scale. The pitch-color concept is not absolutely defined, so the values (in Hertz) of C-red are different depending on the scale division method used. The polychromatic system evolved to allow the creation of a simple notation and theoretical language for writing, learning, and memorizing micro-pitch music within a pitch division scheme of 106 and 72 edo. This describes how I proceeded in trying to work with very high pitch-resolutions. By applying the concept of pitch-color, we can avoid both the confusion in terms and extreme notational complexity (countless, incompatible pitch-modifier symbols) ‘bolted-on’ to chromatic black and white notation. The problem here is that the terminology of flat and sharp are embedded in the chromatic language both as a pitch definition (Db, C#) and as a pitch modifier (bb, x). One way to describe them would be to say that, in the key of ‘C’, C-red is flat-ish and C-blue is sharp-ish relative to the chromatic pitch. Now we can imagine a pitch-color above (say, blue) and a pitch-color below (say, red) each chromatic pitch. Moving up to 36 edo (equal divisions of the octave) brings new complexity. We could distinguish these pitches clearly by assigning the quarter tones at the back of the key to a pitch-color (let’s say violet). The front half of the key plays the conventional chromatic semitone pitch while the back half of the key plays the quartertone in between each front-key pitch (24 pitches per octave). Imagine a chromatic keyboard where each key is split. To aid in the development of new ways of ‘hearing’ sound/music and the world.To open new worlds of musical expression, experience, and composition.To simplify and encourage musical curiosity-exploration and discovery of infinite possible pitch scales and their sonic combinations (intervallic or other).Music is an optimal area in which to extend the possibilities and potential of synesthetic awareness, both aesthetically and scientifically. Recent research has shown that associative synesthesia can be developed with practice. The polychromatic system is based on principles of associative synesthesia: learned associations and conceptual/perceptual integration of audible pitch with visual color. mathematical, theoretical, analytical) perspective. The polychromatic system is oriented toward exploring the outer limits of micro-pitch awareness and its expression in music, from a perceptual rather than conceptual (i.e. Isolated methods of music practice are rapidly multiplying. ![]()
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