LucyScaleDevelopments present:

Some midi playable chord demonstrations.

The midi files on this page will enable you to hear and appreciate some of the musical and harmonic capabilities which the LucyTuning of midi files can offer you. By listening to the two midi files you will be able to directly compare forty five different 12 tone equal temperament (12tET) chord types with more than seventy five corresponding LucyTuned chords.

Forty five different 12Tet chords - chords12tet.mid
Corresponding LucyTuned chords( each unique spelling sounds unique) - chordslt.mid

The two midi files are identical except for the tuning; which has been achieved using pitch bend commands on four separate channels with 4096 units per semitone. These midi flies should playback to the nearest 64th of a semitone. Please note that this very rough pitch resolution will only approximate the low frequency beatings characteristic of LucyTuning.
Each chord and measure sounds for one second, so you should be able to match the chord names whilst listening to the midifile, by comparing the time in seconds or measure numbers on your midi player, with the table below. To further sustain chords reduce the tempo value.
Chords marked with *,%,^,&,$,@,!,~,and > will sound identical to adjacent chord(s) similarly marked in 12tET, as many of the chords in 12tET are homonyms, i.e. different spellings have different meanings yet sound identical.

More information on chords, and harmony using LucyTuning
More on scalemaking and Lucy ScaleCoding
(Remember the greater the number of steps the more dissonant the scale)

Measure
Bar
Seconds
Chord Name
(pop/jazz)
Position Note 4 Note 3 Note 2 Note 1 and Scale Coding
(steps/missing/tonic)
1 - I - - - C
2 - I+III - - E C 4/234/1
3 C I+III+V - G E C 4/34/1 %
4 C Major
(Dupe of 17)
I+IIII+V+VIII C G E C 4/34/1 %
5 C (12) I+III+V+XII G G E C 4/34/1 %
6* C (b12) I+III+V+bXII Gb G E C 10/2-68-10/7
7* C (#11) I+III+V+#XI F# G E C 6/346/1
8% Csus11 I+III+V+XI F G E C 5/45/2
9% C (#10) I+III+V+#X E# G E C 11/347-11/1
10^ C (b11) I+III+V+bXI Fb G E C 12/2-8112/9
11^ C (10) I+III+V+X E G E C 4/34/4 %
12& C (b10) I+III+V+bX Eb G E C 7/2367
13& C (#9) I+III+V+#IX D# G E C 9/346-9/1
14 C9 I+III+V+IX D G E C 4/4/1
15$ C (b9) I+III+V+bIX Db G E C 9/2-589/6
16$ C (#8) I+III+V+#VIII C# G E C 7/3467/1
17@ C Major
(Dupe of 4)
I+III+V+VIII C G E C 4/34/1 %
18@ C (#7) I+III+V+#VII B# G E C 12/346-12/1
19! C (b8) I+III+V+bVIII Cb G E C 11/2-71011/8
20! CMaj7 I+III+V+VII B G E C 5/34/1 $
21~ C7 I+III+V+bVII Bb G E C 6/26/3
22~ C (#6) I+III+V+#VI A# G E C 10/346-10/1
23 C6 (Am7) I+III+V+VI A G E C 4/3/1 &
24> C (b6) I+III+V+bVI Ab G E C 8/23478/5
25> C (#5) I+III+V+#V G# G E C 8/34678/1 *
26 - I+III+#V - G# E C 8/234678/1 ~
27 C Augmented !+III+#V+VIII
(Dupe of 40)
C G# E C 8/234678/1 ~
28 C Aug (12) I+III+#V+XII G G# E C 8/34678/1 *
29* C Aug (b12) I+III+#V+bXII Gb G# E C 14/2-68910121314/7
30* C Aug (#11) I+III+#V+#XI F# G# E C 8/23468/1
31% C Aug (11) I+III+#V+XI F G# E C 9/345789/2
32% C Aug (#10) I+III+#V+#X E# G# E C 11/2346781011/1
33^ C Aug (b11) I+III+#V+bXI Fb G# E C 16/2-8101112141516/9
34^ C Aug (10) I+III+#V+X E G# E C 8/234678/1 ~
35& C Aug (b10) I+III+#V+bX Eb G# E C 11/235671011/4
36& C Aug (#9) I+III+#V+#IX D# G# E C 9/234678/1
37 C Aug 9 I+III+#V+IX D G# E C 8/24678/1
38$ C Aug (b9) I+III+#V+bIX Db G# E C 13/2-5789111213/6
39$ C Aug (#8) I+III+#V+#VIII C# G# E C 8/23467/1
40@ C Augmented I+III+#V+VIII
(Dupe of 27)
C G# E C 8/234678/1
41@ C Aug as
Three third
Intervals
I+III+#V+#VII
(2L) * 3
B# G# E C 12/234678101112/1
42! C Aug (b8) I+III+#V+bVIII Cb G# E C 15/2-791011131415/8
43! C Aug Maj7 I+III+#V+VII B G# E C 8/23478/1
44~ C Aug 7 I+III+#V+bVII Bb G# E C 10/24568910/3
45~ C Aug (#6) I+III+#V+#VI A# G# E C 10/23467810/1
46 C Aug 6 I+III+#V+VI A G# E C 8/23678/1
47 - I+bIII - - Eb C 3/23/4
48 C minor I+bIII+V - G Eb C 4/23/4 ^
49 Cm12 I+bIII+V+XII G G Eb C 4/23/4 ^
50* Cmb12 I+bIII+V+bXII Gb G Eb C 7/2356/7
51* Cm#11 I+bIII+V+#XI F# G Eb C 9/236-9/4
52% Cm11 I+bIII+V+XI F G Eb C 4/2/4
53% Cm#10 I+bIII+V+#X E# G Eb C 14/236-14/4
54^ Cmb11 I+bIII+V+bXI Fb G Eb C 9/2-578/9
55^ Cm10 I+bIII+V+X E G Eb C 7/2367/4
56& Cmb10 I+bIII+V+bX Eb G Eb C 4/23/4 ^
57& Cm#9 I+bIII+V+#IX D# G Eb C 12/236-12/4
58 Cm9 I+bIII+V+IX D G Eb C 5/23/4
59$ Cmb9 I+bIII+V+bIX Db G Eb C 6/245/6
60$ Cm#8 I+bIII+V+#VIII C# G Eb C 10/235-10/4
61@ C minor I+bIII+V+VIII C G Eb C 4/23/4 ^
62@ Cm#7 I+bIII+V+#VII B# G Eb C 15/236-15/4
63! Cmb8 I+bIII+V+bVIII Cb G Eb C 8/2347/8
64! CmMaj7 I+bIII+V+VII B G Eb C 8/23678/4
65~ Cm7 (Eb 6) I+bIII+V+bVII Bb G Eb C 4/3/4 &
66~ Cm#6 I+bIII+V+#VI A# G Eb C 13/236-13/4
67 Cm6 I+bIII+V+VI A G Eb C 6/236/4
68> Cmb6 I+bIII+V+bVI Ab G Eb C 5/34/5 $
69> Cm#5 I+bIII+V+#V G# G Eb C 11/236-11/4
70 C Diminished as
three bIII intervals
I+bIII+bV+bbVII
= (L+s) * 3
Bbb Gb Eb C 9/235-9/10
71@ Cdim I+bIII+bV+VIII
(Dupe of 85)
C Gb Eb C 6/2356/7 @
72@ Cdimbb9 I bIII bV bbIX Dbb Gb Eb C 13/2-79101213/14
73 Cdim12 I+bIII+bV+XII G Gb Eb C 7/2356/7
74* Cdimb12 I+bIII+bV+bXII Gb Gb Eb C 6/2356/7 @
75* Cdim#11 I+bIII+bV+#XI F# Gb Eb C 12/23568-12/7
76% Cdim11 I+bIII=bV+XI F Gb Eb C 6/235/7
77% Cdim#10 I+bIII+bV+#X E# Gb Eb C 17/23568-17/7
78^ Cdimb11 I+bIII+bV+bXI Fb Gb Eb C 8/24578/9
79^ Cdim10 I+bIII+bV+X E Gb Eb C 10/23568-10/7
80& Cdimb10 I+bIII+bV+X Eb Gb Eb C 6/2356/7 @
81& Cdim#9 I+bIII+bV+#IX D# Gb Eb C 15/23568-15/7
82 Cdim9 I+bIII+bV+IX D Gb Eb C 8/2358/7
83$ Cdimb9 I+bIII=bV+bIX Db Gb Eb C 6/356/7
84$ Cdim8# I+bIII+bV+#VIII C# Gb Eb C 13/23568-13/7
85@ Cdim I+bIII+bV+VIII
(Dupe of 71)
C Gb Eb C 6/2356/7
86@ Cdim#7 I+bIII+bV+#VII B# Gb Eb C 18/23568-18/7
87! Cdimb8 I+bIII+bV+bVIII Cb Gb Eb C 7/3467/8
88! CdimMaj7 I+bIII+bV+VII B Gb Eb C 11/23568-11/7
89~ Cdim7 I+bIII+bV+bVII Bb Gb Eb C 6/236/7
90~ Cdim#6 I+bIII+bV+#VI A# Gb Eb C 16/23568-16/7
91 Cdim6 I+bIII+bV+VI A Gb Eb C 9/35689/7
Measure
Bar
Second
%^&$@*~! =
12tET Homonyms
Chord Name Position Note 4 Note 3 Note 2 Note 1 and Scale Coding
(steps/missing/tonic)


%^&$@*~ = Dupe scales

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