200e

That helps with major scales.  How about the data for minor and other scales?  Anyone?  Never studied music theory and a matrix with 222/223 cv settings for other scales would be immensely appreciated.  Indian raga scale or gamelan anyone?

Would unlock potentials immensley for the hoards.

Sent from my iPhone

I love this idea

> That helps with major scales. How about the data for minor and other scales? Anyone? Never studied music theory and a matrix with 222/223 cv settings for other scales would be immensely appreciated. Indian raga scale or gamelan anyone?
> 
> Would unlock potentials immensley for the hoards.
> 
> Sent from my iPhone
> 
> _


[Non-text portions of this message have been removed]

On Feb 15, 2011, at 4:40 AM, Paul Batlan wrote:

> That helps with major scales.  How about the data for minor and other scales?  Anyone?  Never studied music theory and a matrix with 222/223 cv settings for other scales would be immensely appreciated.  Indian raga scale or gamelan anyone?


I have this sequencer Max patch that has an elaborate scale system called ScaleMaster built in. It only has equal-tempered approximations of things like Slednro or Pelog (Gamelon scales). Here's the database from that quantizer. It is expressed in scale degrees, so first, here's a table of scale degrees to voltage:
1 = 0
b2 = 10
2 = 20
b3 = 30
3 = 40
4 = 50
b5 = 60
5  = 70
b6 = 80
6  = 90
b7 = 100
7 = 110
Add 120 to the above for each octave transposition. 

So for Slendro, we would have
1 = 0
2 = 20
4 = 50
5 = 70
b7 = 100



ScaleMaster table:
Octaves, 1;
Fifths, 1 5;
PentAmbig, 1 2 5;
Fourths, 1 4 b7;
cbm_q1, 1 3 4 6;
cbm_q2, 1 b3 4 b6;
Tristan, 1 b3 b5 b7;
cbm_p1, 1 2 4 5 7;
PentaMaj, 1 2 3 5 6;
PentaMin, 1 2 b3 5 b6;
Slendro, 1 2 4 5 b7;
Pelog, 1 b2 b3 5 b6;
Miyako-bushi, 1 b2 3 5 b6;
Blues, 1 b3 4 b5 5 b7;
SixtoneSym, 1 b2 3 4 b6 6;
Petrushka, 1 b2 3 b5 5 b7;
Prometheus, 1 2 3 b5 6 b7;
Japanese, 1 b2 4 5 b6 b7;
Wholetone, 1 2 3 b5 b6 b7;
Augmented, 1 b3 3 b5 b6 7;
AugmentedMaj, 1 b3 3 4 5 b6 7;
Major, 1 2 3 4 5 6 7;
Minor, 1 2 b3 4 5 6 7;
BebopMaj, 1 2 3 4 5 b6 6;
BebopMin, 1 b3 3 4 5 6 b7;
BebopMelMin, 1 2 b3 4 5 b6 6;
HarmonicMaj, 1 2 3 4 5 b6 7;
HarmonicMin, 1 2 b3 4 5 b6 7;
NeopolitanMaj, 1 b2 b3 4 5 6 7;
NeopolitanMin, 1 b2 b3 4 5 b6 7;
Dorian, 1 2 b3 4 5 6 b7;
Phrygian, 1 b2 b3 4 5 b6 b7;
Lydian, 1 2 3 b5 5 6 7;
Aeolian, 1 2 b3 4 5 b6 b7;
Mixolydian, 1 2 3 4 5 6 b7;
Locrian, 1 b2 b3 4 b5 b6 b7;
Algerian, 1 2 b3 4 b5 5 b6 7;
Enigmatic, 1 b2 3 b5 b6 b7 7;
Arabic, 1 b2 3 4 5 b6 7;
Todi, 1 b2 b3 b5 5 b6 7;
Purvi, 1 b2 3 b5 5 b6 7;
OvertoneDom, 1 2 3 b5 5 6 b7;
Hindu, 1 2 3 4 5 b6 b7;
Altered, 1 b2 b3 3 b5 b6 b7;
PhrygianDom, 1 b2 3 4 5 b6 b7;
Octatonic, 1 b2 b3 3 b5 5 6 b7;
Lydian_Minor, 1 2 3 b5 5 b6 b7;
Rag_Madhukant, 1 2 b3 b5 5 6 b7;
Rag_Madhuvanti, 1 2 b3 b5 5 6 7;
Rag_Ahir_Bhairav, 1 b2 3 4 5 6 b7;
Rag_Arnand_Bhairav, 1 b2 3 4 5 6 7;
BebopDom, 1 2 3 4 5 b7 7;
Saranga, 1 2 b3 b5 5 b7 7;
Sambah, 1 2 b3 3 5 b6 b7;
HungarianMaj, 1 b3 3 b5 5 6 b7;
InstantJazz, 1 b2 b3 b5 5 6 7;
Jeth, 1 2 b3 4 b5 6 7;
MixoBlues, 1 b3 3 4 b5 5 b7;
HungarianMin, 1 2 b3 b5 5 b6 7;
Diminished, 1 2 b3 4 b5 b6 6 7;
Bhairav_That, 1 b2 2 4 5 b6 7;
SpanishEightTone, 1 b2 b3 3 4 b5 b6 b7;
Ninetone, 1 2 b3 3 b5 5 b6 6 7;
Chromatic, 1 b2 2 b3 3 4 b5 5 b6 6 b7 7;
Japanese_A, 1 b2 4 5 b6;
Japanese_B, 1 2 4 5 b6;
Ichikosucho, 1 2 3 4 b5 5 6 7;
Taishikicho, 1 2 3 4 b5 5 6 b7 7;
Adonai_Malakh, 1 b2 2 b3 4 5 6 b7;
Magen_Abot, 1 b2 b3 3 b5 b6 b7 7;
Theta_Marva, 1 b2 3 b5 5 6 7;
Mela_Bhavapriya, 1 b2 2 4 5 b6 6;
Mela_Chalanata, 1 b3 3 4 5 b7 7;
Mela_Chitrambari, 1 2 3 b5 5 b7 7;
Mela_Dhatuvardhani, 1 b3 3 b5 5 b6 7;
Mela_Dhavalambari, 1 b2 3 b5 5 b6 6;
Mela_Divyamani, 1 b2 b3 b5 5 b7 7;
Mela_Gamanasrama, 1 b2 3 b5 5 6 7;
Mela_Gavambodhi, 1 b2 b3 b5 5 b6 6;
Chinese, 1 3 b5 5 7;
Arabian_B, 1 2 3 4 b5 b6 b7;
Javaneese, 1 b2 b3 4 5 6 b7;
Mela_Gayakapriya, 1 b2 3 4 5 b6 6;
Mela_Hatakambari, 1 b2 3 4 5 b7 7;
Mela_Jalarnavam, 1 b2 2 b5 5 b6 b7;
Mela_Jhalavarali, 1 b2 2 b5 5 6 b7;
Mela_Jyotisvarupini, 1 b3 3 b5 5 b6 b7;
Mela_Namanarayani, 1 b2 3 b5 5 b6 b7;
Mela_Pavani, 1 b2 2 b5 5 6 7;
Mela_Ragavardhani, 1 b3 3 4 5 b6 b7;
Mela_Raghupriya, 1 b2 2 b5 5 b7 7;
Mela_Ramapriya, 1 b2 3 b5 5 6 b7;
Mela_Rasikapriya, 1 b3 3 b5 5 b7 7;
Mela_Ratnangi, 1 b2 2 4 5 b6 b7;
Mela_Kantamani, 1 2 3 b5 5 b6 6;
Mela_Kosalam, 1 b3 3 b5 5 6 7;
Mela_Latangi, 1 2 3 b5 5 b6 7;
Mela_Manavati, 1 b2 2 4 5 6 7;
Schoenberg_Anagram, 1 b2 2 4 b5 6;
Harm_Hexachord__Aug_11th, 1 2 3 b5 b6 6;



"Thar’s only two possibilities: Thar is life out there in the universe which is smarter than we are, or we’re the most intelligent life in the universe. Either way, it’s a mighty sobering thought."
                                              - Walt Kelley (as Porky Pine)
Chris Muir - cbm@well.com

Great shot Chris!!!!!

> 
> On Feb 15, 2011, at 4:40 AM, Paul Batlan wrote:
> 
>> That helps with major scales.  How about the data for minor and other scales?  Anyone?  Never studied music theory and a matrix with 222/223 cv settings for other scales would be immensely appreciated.  Indian raga scale or gamelan anyone?
> 
> 
> I have this sequencer Max patch that has an elaborate scale system called ScaleMaster built in. It only has equal-tempered approximations of things like Slednro or Pelog (Gamelon scales). Here's the database from that quantizer. It is expressed in scale degrees, so first, here's a table of scale degrees to voltage:
> 1 = 0
> b2 = 10
> 2 = 20
> b3 = 30
> 3 = 40
> 4 = 50
> b5 = 60
> 5  = 70
> b6 = 80
> 6  = 90
> b7 = 100
> 7 = 110
> Add 120 to the above for each octave transposition. 
> 
> So for Slendro, we would have
> 1 = 0
> 2 = 20
> 4 = 50
> 5 = 70
> b7 = 100
> 
> 
> 
> ScaleMaster table:
> Octaves, 1;
> Fifths, 1 5;
> PentAmbig, 1 2 5;
> Fourths, 1 4 b7;
> cbm_q1, 1 3 4 6;
> cbm_q2, 1 b3 4 b6;
> Tristan, 1 b3 b5 b7;
> cbm_p1, 1 2 4 5 7;
> PentaMaj, 1 2 3 5 6;
> PentaMin, 1 2 b3 5 b6;
> Slendro, 1 2 4 5 b7;
> Pelog, 1 b2 b3 5 b6;
> Miyako-bushi, 1 b2 3 5 b6;
> Blues, 1 b3 4 b5 5 b7;
> SixtoneSym, 1 b2 3 4 b6 6;
> Petrushka, 1 b2 3 b5 5 b7;
> Prometheus, 1 2 3 b5 6 b7;
> Japanese, 1 b2 4 5 b6 b7;
> Wholetone, 1 2 3 b5 b6 b7;
> Augmented, 1 b3 3 b5 b6 7;
> AugmentedMaj, 1 b3 3 4 5 b6 7;
> Major, 1 2 3 4 5 6 7;
> Minor, 1 2 b3 4 5 6 7;
> BebopMaj, 1 2 3 4 5 b6 6;
> BebopMin, 1 b3 3 4 5 6 b7;
> BebopMelMin, 1 2 b3 4 5 b6 6;
> HarmonicMaj, 1 2 3 4 5 b6 7;
> HarmonicMin, 1 2 b3 4 5 b6 7;
> NeopolitanMaj, 1 b2 b3 4 5 6 7;
> NeopolitanMin, 1 b2 b3 4 5 b6 7;
> Dorian, 1 2 b3 4 5 6 b7;
> Phrygian, 1 b2 b3 4 5 b6 b7;
> Lydian, 1 2 3 b5 5 6 7;
> Aeolian, 1 2 b3 4 5 b6 b7;
> Mixolydian, 1 2 3 4 5 6 b7;
> Locrian, 1 b2 b3 4 b5 b6 b7;
> Algerian, 1 2 b3 4 b5 5 b6 7;
> Enigmatic, 1 b2 3 b5 b6 b7 7;
> Arabic, 1 b2 3 4 5 b6 7;
> Todi, 1 b2 b3 b5 5 b6 7;
> Purvi, 1 b2 3 b5 5 b6 7;
> OvertoneDom, 1 2 3 b5 5 6 b7;
> Hindu, 1 2 3 4 5 b6 b7;
> Altered, 1 b2 b3 3 b5 b6 b7;
> PhrygianDom, 1 b2 3 4 5 b6 b7;
> Octatonic, 1 b2 b3 3 b5 5 6 b7;
> Lydian_Minor, 1 2 3 b5 5 b6 b7;
> Rag_Madhukant, 1 2 b3 b5 5 6 b7;
> Rag_Madhuvanti, 1 2 b3 b5 5 6 7;
> Rag_Ahir_Bhairav, 1 b2 3 4 5 6 b7;
> Rag_Arnand_Bhairav, 1 b2 3 4 5 6 7;
> BebopDom, 1 2 3 4 5 b7 7;
> Saranga, 1 2 b3 b5 5 b7 7;
> Sambah, 1 2 b3 3 5 b6 b7;
> HungarianMaj, 1 b3 3 b5 5 6 b7;
> InstantJazz, 1 b2 b3 b5 5 6 7;
> Jeth, 1 2 b3 4 b5 6 7;
> MixoBlues, 1 b3 3 4 b5 5 b7;
> HungarianMin, 1 2 b3 b5 5 b6 7;
> Diminished, 1 2 b3 4 b5 b6 6 7;
> Bhairav_That, 1 b2 2 4 5 b6 7;
> SpanishEightTone, 1 b2 b3 3 4 b5 b6 b7;
> Ninetone, 1 2 b3 3 b5 5 b6 6 7;
> Chromatic, 1 b2 2 b3 3 4 b5 5 b6 6 b7 7;
> Japanese_A, 1 b2 4 5 b6;
> Japanese_B, 1 2 4 5 b6;
> Ichikosucho, 1 2 3 4 b5 5 6 7;
> Taishikicho, 1 2 3 4 b5 5 6 b7 7;
> Adonai_Malakh, 1 b2 2 b3 4 5 6 b7;
> Magen_Abot, 1 b2 b3 3 b5 b6 b7 7;
> Theta_Marva, 1 b2 3 b5 5 6 7;
> Mela_Bhavapriya, 1 b2 2 4 5 b6 6;
> Mela_Chalanata, 1 b3 3 4 5 b7 7;
> Mela_Chitrambari, 1 2 3 b5 5 b7 7;
> Mela_Dhatuvardhani, 1 b3 3 b5 5 b6 7;
> Mela_Dhavalambari, 1 b2 3 b5 5 b6 6;
> Mela_Divyamani, 1 b2 b3 b5 5 b7 7;
> Mela_Gamanasrama, 1 b2 3 b5 5 6 7;
> Mela_Gavambodhi, 1 b2 b3 b5 5 b6 6;
> Chinese, 1 3 b5 5 7;
> Arabian_B, 1 2 3 4 b5 b6 b7;
> Javaneese, 1 b2 b3 4 5 6 b7;
> Mela_Gayakapriya, 1 b2 3 4 5 b6 6;
> Mela_Hatakambari, 1 b2 3 4 5 b7 7;
> Mela_Jalarnavam, 1 b2 2 b5 5 b6 b7;
> Mela_Jhalavarali, 1 b2 2 b5 5 6 b7;
> Mela_Jyotisvarupini, 1 b3 3 b5 5 b6 b7;
> Mela_Namanarayani, 1 b2 3 b5 5 b6 b7;
> Mela_Pavani, 1 b2 2 b5 5 6 7;
> Mela_Ragavardhani, 1 b3 3 4 5 b6 b7;
> Mela_Raghupriya, 1 b2 2 b5 5 b7 7;
> Mela_Ramapriya, 1 b2 3 b5 5 6 b7;
> Mela_Rasikapriya, 1 b3 3 b5 5 b7 7;
> Mela_Ratnangi, 1 b2 2 4 5 b6 b7;
> Mela_Kantamani, 1 2 3 b5 5 b6 6;
> Mela_Kosalam, 1 b3 3 b5 5 6 7;
> Mela_Latangi, 1 2 3 b5 5 b6 7;
> Mela_Manavati, 1 b2 2 4 5 6 7;
> Schoenberg_Anagram, 1 b2 2 4 b5 6;
> Harm_Hexachord__Aug_11th, 1 2 3 b5 b6 6;

I think I can shine some light here.  Cents are a linear way to measure the space between the intervals you are dealing with. Frequency is an exponential measurement I'm going to avoid dealing with since cv/oct as well as the 222e's numeric increments are linear.

So in Equal temparament, that's what most modern Western world instruments are tuned to, like 99% of synths with keyboards, you have 100 cents as the space from keyboard key to key. 1200 cents in an octave since there are 12 notes. So in Buchla voltage it's 0.10 volt from key to key on a piano type keyboard and Buchla lets you step the value in 10 cent increments. So 0, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 110, 120 would be the lowest octave you can address with CV. It keeps on going to 999 I believe.

Okay, now I wouldn't get too worked up about the major scale. For "Sound of Music" lovers it's do re mi fa sol la ti do. Then again "Sound of Music" had the same director as "The Day the Earth Stood Still". It's just the white keys on a piano starting with C. The starting with part is a big deal in music theory. It becomes "In the key of C Major"if you start on C. If you start on A and play the white keys that's the scale of A minor. It's something different because of the intentional layout of the black and white keys 

To compare a minor scale with the Major Scale Jon sent
0
20
30 not 40 for major
50
70
80 not 90
100 not 110
120
and of course it keeps going, just add 120 to the above, 240 for the next octave, etc.

You can start with any note and count keys. That's the advantage of linear scaling. You can also just play white keys and start on some other key and get a different sounding scale that's not major nor minor mode. One can go on and fill a book once you start looking at scales. Someone sent a bunch in. But once you get into tuning that's less than the tip of the iceberg.

>So for Slendro, we would have
>1 = 0
>2 = 20
>4 = 50
>5 = 70
>b7 = 100

nope, not too close. That's someone with a piano trying to do the best they can but you can do better with a Buchla. Look up the cents and lop off a decimal place. A quick and dirty google gets me this for slendro

0
23
47
71
93
then add 120 for the next octave

But Gamelan is problematic since the overtones aren't all harmonic (like standard raw analog synth waves contain) and they are tuned in comparison to other accepted gamelans and also by ear. Wendy Carlos told me to use your ears not what you find in books. What she found in books didn't match what she heard at all, though it makes sense knowing the method of tuning that what Carlos listened to would diverge quite a bit from someone researching a different instrument.

Anyway one can go on for decades.

If you want a quick fix to play notes you know on standard keyboards. Number each key on a standard keyboard and add a zero. If you count all black and white keys the wonders of Equal Temparament go to work.  Leave out the keys you want to skip since you have just so many pads on the 222e

On Feb 16, 2011, at 6:15 PM, nicholas_kent wrote:

>> So for Slendro, we would have
>> 1 = 0
>> 2 = 20
>> 4 = 50
>> 5 = 70
>> b7 = 100
> 
> nope, not too close. That's someone with a piano trying to do the best they can but you can do better with a Buchla. Look up the cents and lop off a decimal place. A quick and dirty google gets me this for slendro
> 
> 0
> 23
> 47
> 71
> 93
> then add 120 for the next octave


Well, before the list of Slendro notes I posted, I did mention that it was an equal-tempered approximation (as are all the scales I posted.) I play with other musicians often enough to want to avoid the complication of other intonations.

Plus, doesn't the resolution of the 259e/261e ADC leave a 10 cent wiggle anyway? Maybe just in the low end?

- C

"Thar’s only two possibilities: Thar is life out there in the universe which is smarter than we are, or we’re the most intelligent life in the universe. Either way, it’s a mighty sobering thought." 
                                           - Walt Kelley (as Porky Pine)
Chris Muir - cbm@well.com