I offer this discussion even though I am not sure if the idea is useful. This Forum’s many experienced and insightful members might see possibilities that I am missing.
I feel compelled to share this idea because I am surprised and intrigued by what I found when I applied my Chromatic with Offset Tonics (COT) concept (at viewtopic.php?f=9&t=874#p3904 ) to Brendan Power’s own PowerChromatic tuning.
We see (below) that in the slide-in layer, the breath pattern is reversed for all the diatonic scale degrees except the tonic. This layer has the exact format of a well-known chromatic tuning called ”Classical”. While the PowerChromatic layer gives us draw-bends for four notes of the scale, the Classical layer gives only two.
download/file.php?mode=view&id=851
Chromatic with Offset Tonics (COT) as applied to PowerChromatic
Chromatic with Offset Tonics (COT) as applied to PowerChromatic
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Re: Chromatic with Offset Tonics (COT) as applied to PowerChromatic
Another way to look at it would be as Minor Solo Tuning in D
Re: Chromatic with Offset Tonics (COT) as applied to PowerChromatic
Hmm, I'm not seeing that. But what you say helps me to see the slide-out layer as Dorian (which is minor) Classical tuning in D.
Re: Chromatic with Offset Tonics (COT) as applied to PowerChromatic
It would be starting on hole #2:
DE FG AB CD DC
But you're right: because the doubled D notes are different breath, it's not the same as the Solo pattern *where doubled C notes are blow).
DE FG AB CD DC
But you're right: because the doubled D notes are different breath, it's not the same as the Solo pattern *where doubled C notes are blow).
Re: Chromatic with Offset Tonics (COT) as applied to PowerChromatic
I am more surprised than I should be -- and strangely delighted -- that this works both ways ....
download/file.php?mode=view&id=853

download/file.php?mode=view&id=853
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