[LAU] Working with multiple scales simultaneously - user POV

James Morris jwm.art.net at gmail.com
Fri Jan 27 18:13:38 UTC 2012


On 27 January 2012 17:48, Rustom Mody <rustompmody at gmail.com> wrote:
>
>
> On Fri, Jan 27, 2012 at 11:01 PM, James Morris <jwm.art.net at gmail.com>
> wrote:
>>
>> Hi,
>>
>> I'm just wondering how you would rate the importance of program which
>> dynamically assigns pitch and velocity to incoming events to be able
>> to work with multiple key/scale simultaneously?
>>
>> It's a bit of an experiment but I'm thinking it might be useful in
>> live situations for the electronic/dance/glitch/etc orientated
>> musician, but it might also happen to work out as a fun/toy program
>> for people play|learn-ing about music and scales (possibly).
>>
>> Would anyone consider output of notes in multiple scales important in
>> either of these situations?
>>
>> Thanks,
>> James.
>
>
> I am interested in modes (western) ie ragas (Indian) and in alternate
> tunings.
> Im not sure what you mean by scale in this context.
>
> I recently had a discussion with the musescore folks about scale ie key
> signatures:
> Evidently in musescore one can enter non-standard (by western standards) key
> signatures like only an A-flat (rather than the usual B-flat) or even an F-#
> and a B-flat etc.
> But it does not 'understand'  these key signatures when playback-ing.
> ie with standard western signatures it plays the correct notes but with
> these 'home-made' signatures it just plays everything natural.
>
> Dunno if all this has anything to do with anything you are asking.

Unfortunately I'm not very musically literate...oops... but an example
would be C-Major, with C as the key, and major as the scale (
http://en.wikipedia.org/wiki/C_major  ).

So is there a use case for say one part (ie woodwind) in a composition
outputting notes of one key/scale while another part (ie strings)
simultaneously outputs notes of some other key/scale?

I'm wondering how people would rate the importance of being able to do that.

James.


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