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Quasi-Circular (modded Major Cross); RENAMED TO "CIRCULAR-PENCHROMATIC"

Posted: Fri Aug 11, 2017 6:33 pm
by IaNerd
NAME: Byrnes Quasi-Circular

BASIC CONCEPT: There now exists a constellation of tunings which share high relatedness. Circular, Major Cross (thanks, Tony Eyers!) and some of Brendan Power's tunings (thanks, BP!) are strikingly similar in structure and function. Choosing one over the other is almost like choosing shoes; the individual wearer and the particular uses might reward even smallish variations. This is one such variation.

WHEN/HOW: July of 2017. Configured by me and constructed by Seydel's Custom Shop. SMALL CORRECTIONS MADE TO DIAGRAM ON August 29, 2017.

LAYOUT:

Image

I Gmaj yes
ii Amin yes (x2), with 7ths
iii Bmin yes (x2), with 7ths
IV Cmaj yes (x2), one with 7th
V Dmaj yes (x3), one with 7th
vi Emin yes (full with 7th, and partial)
vii F#dim yes, with 7th



DETAILS: This is nearly circular tuning, and nearly Major Cross. Compared to the latter, my layout contains a "point insertion mutation" resulting in a "phase shifting" of the upper tones from blow-to-draw and vice versa. This phase-shift flips the higher octave into a repeating and (in my view) a “proper” blow-draw pattern.

So far, this is my favorite basic diatonic melody/harmony tuning that is not particularly optimized for blues or some other special purpose.

Re: Quasi-Circular (modded Major Cross)

Posted: Thu Sep 28, 2017 7:37 pm
by IaNerd
In a Topic called "Tunings that use the “penchromatic” octave ...." I wrote about a special octave which I did not discover first, but termed "penchromatic". Since then I noticed that this tuning contains the special penchromatic octave in channels 6-10.

I'm now thinking that a more fitting name for this overall tuning would be "Circular-Penchromatic".