(demo for clarinet, piano, and NES. all instruments use alpha tuning centered at middle C = ~261.6hz)
in her 1986 release beauty in the beast, wendy carlos introduced "alpha tuning," an alternative to the common western 12-tone tuning system.
rather than dividing an octave (the distance from middle C to high C, a 2/1 frequency ratio) into 12 equal steps, alpha tuning divides a perfect fifth (about the distance from C to G, a 3/2 frequency ratio) into 9 equal steps.
this diagram shows where the notes of each tuning fall relative to a typical piano keyboard. while both include middle C and G, every other note differs at least somewhat. in alpha tuning, major thirds (the distance from C to E) are flatter, and minor thirds (the distance from E to G) are sharper, but both still sound quite nice. on the other hand, in alpha tuning the octave (the distance from middle C to high C) is completely missing! it falls right in between two notes of the scale.
but alpha tuning has unique pitches of its own. my favorite is the 2-step interval, sometimes called a "neutral 2nd". this interval divides the minor 3rd exactly in half, and has no equivalent in so-called standard tuning. it appears throughout the demo above.
today, many software packages support alpha tuning. for more on wendy carlos' tunings, see her article in Computer Music Journal and the xenharmonic wiki.
music theory: okay now remember the difference between an augmented chord and a diminished chord is that a diminished flattens the fifth and an augmented sharpens the fifth which makes two sets of perfect thirds. remember that if you split up your octaves into 31 tone-equal temperament two sets of perfect thirds actually make a neutral chord instead which Does Not Exist in the 12 TET style of western music.
me: yea that makes sense
artist tips: you can evenly space eyes on a drawing of a face by keeping them an eyes’ length apart :)
this one is in an eight-tone scale that i made up myself, modeled after the lydian mode but with two main adjustments:
i made the third step in the scale (the note that sets the lydian mode apart from a major scale) one step higher, to make it twinkly and allow for subminor and supermajor chords;
i split the sixth step into two notes one step apart, F♯ and G♭,and playing them back-to-back allows for twinkly ornamentation (:
this feels like a turning point for me personally, i really like this one lol. like it feels like it's getting more listenable