CHROMOSCALE

Unique Language for Sounds Colors and Numbers

Themes:

Base 7, The Harmonic Base Chromatic Numbers in Base 7 Unique Language in Chromatic Scale Chromatic Numbers between 0 to 0 !dditi"e and Subtracti"e Sounds and Colors Sound Color Number #heels Com$lementar% Sounds Colors and Numbers Chromatic &eometr% CH'()(SC!L* + C%clic (rder of Chromotones Chromotone ,ractions Circle of ,ifths CH'()(SC!L* Harmonics and ,ull )-.- Note 'ange Sound / Color !00 1111111
Attached files

He2agonal Lattice
and

Colour 'am$ing for .ata 3isualisation

#ritten b% 0rof4 0aul Bour5e

CHROMOSCALE and CHROMOTONES Sound & Color and Base

0aolo .i 0asquale Lighting .esigner 'ome, -tal% chromoscale 6 gmail4com Co$%right 788 9 :0 ; !ll 'ight 'eser"ed Unless otherwise indicated, all materials on these $ages are co$%righted b% the !uthor4 No $arts of these $ages, either te2t or images ma% be used for an% $ur$ose other than $ersonal use4 Therefore, re$roduction, modification, storage in a retrie"al s%stem or retransmission, in an% form or b% an% means, electronic, mechanical or otherwise, for reason other than $ersonal use, is strictl% $rohibited without $rior write $ermission4

BASE

The Harmonic Base

The Base 7 is com$osed from the numbers 0 , Table from to 00 in B!S* 7 ,:,;,<,=,>

Si2 numbers, si2 times $resent while the 0 is $resent onl% in the e2ternal $erimeter This is the harmonic equilibrium of Base 7

?@A for the differences with Base 0, $lease "isit www4basese"en4com Be2$loration between Base 7 and Base 0C

Numerical Table of Base 7 associating numbers with the se"en colors of the rainbow4

Chromatic Num!ers in Base

He2agonal Table of Base 7 associating numbers with colors4 S%stem where the numbers will be chromatic with the Base 7 characteristics and harmonies4 The he2agon has man% interesting $ro$erties, and the result is a $ol%gonal table constructible with elementar% geometr%4

#e obtain a sha$e of he2agram similar to the Doch Snowfla5e

for this association, $lease "isit BTe2ture and ColourC 0rof4 0aul Bour5e web $ages htt$EFF$aulbour5e4netFte2ture1colourF

about He2agonal Table in Base 7 see also attached files, $age < + 8 "He#a$onal Lattice% #ritten b% 0rof4 0aul Bour5e

&ni'ue Lan$ua$e in "Chromatic Scale%

Corres$ondence of Sounds, Colors and Numbers in Base 7
-t should be em$hasiGed that to $ass from one harmonic N(T* to the ne2t harmonic of the same N(T* is enough to double the frequenc% in HG4 Theoreticall%, if we double the frequenc% of the -N,'!'*. we meet on frequenc% of the ULT'!3-(L*T4 Based on this $rinci$le, we $roceed multi$l%ing b% : the frequenc% in HertG of a T(N* until %ou get close to "alues in &HG of the "isible s$ectrum4 -n fact, if we multi$l% b% :H<0 the frequenc% of ;>7,77< HG of ,I we obtain <0>48 ; &HG, frequenc% that corres$onds at the border+line of the -N,'!'*.4 #e $roceed with this s%stem for all the T(N*S that ma5e u$ the JChromatic ScaleJ b% com$leting the following TableE

Base

( Chromatic Num!ers !et)een * and +*

+*,+- . */0*0*0*0*1 ?in Base 0 7F : K 0,=8;;;;;;L4A

(ne Harmonic of B*qual Tem$ered ScaleC is com$osed b% : Tones4 Number : of Base 0 corres$ond at number = in Base 7 ,irst Harmonic is from 0 to 0 The corres$onding numbers of Tones in first harmonic are between 0 and 0

(ne tone is 0F = 0F = K 0,<0<0<0<0L

?,I0 K 0 and ,I K 0A 0,00000000 F# 0,00000000 M 0,<0<0<0<0 , M 0,<0<0<0<0 :,:::::::: M 0,<0<0<0<0 ;,;;;;;;;; M 0,<0<0<0<0 <,<<<<<<<< M 0,<0<0<0<0 =,======== M 0,<0<0<0<0 K K K K K K 0,<0<0<0<0 ,= = = = :,>:>:>:>: <,0<0<0<0< =, = = = = >,:>:>:>:> G A B C# D# F 0,<0<0<0<0 M 0,<0<0<0<0 ,= = = = M 0,<0<0<0<0 :,>:>:>:>: M 0,<0<0<0<0 <,0<0<0<0< M 0,<0<0<0<0 =, = = = = M 0,<0<0<0<0 >,:>:>:>:> M 0,<0<0<0<0 K K K K K K , :,:::::::: ;,;;;;;;;; <,<<<<<<<< =,======== 0,00000000
? octa"e u$A

G# A# C# D E# F#

about R2B/ CM3/ HSL and Colour Ram4in$ for 5ata 6isualisation see attached files, $age 7 + :0 #ritten b% 0rof4 0aul Bour5e

Additi7e and Su!tracti7e in Base

0rimar% colors are sets of colors that can be combined to ma5e a usefull range of colors4 ,or humans a$$lications, three $rimar% colors are usuall% used, since human color "ision is trichromatic4 !dditi"e color $rimaries are the secondar% subtracti"e colors, or "ice "ersa4 0rimar% colors are not a fundamental $ro$ert% of light but are related to the $h%siological res$onse of the e%e to light4 ,undamentall%, light is a continuous s$ectrum of the wa"elengths that can be detected b% the human e%e, an infinite+ dimensional stimulus s$ace4 Howe"er, the human e%e normall% contains onl% three t%$es of color rece$tors, called cone cells4 *ach color rece$tor res$onds to different ranges of the color s$ectrum4 Humans and other s$ecies with three such t%$es of color rece$tors are 5nown as trichromats4 These s$ecies res$ond to the light stimulus "ia a three+dimensional sensation, which generall% can be modeled as a mi2ture of three $rimar% colors4 Before the nature of colorimetr% and "isual $h%siolog% were well understood, scientists such as Thomas Noung, Oames Clar5 )a2well, and Hermann "on HelmholtG e2$ressed "arious o$inions about what should be the three $rimar% colors to describe the three $rimar% color sensations of the e%e4 Noung originall% $ro$osed red, green, and "iolet, and )a2well changed "iolet to blueP HelmholtG $ro$osed Ja slightl% $ur$lish red, a "egetation+green, slightl% %ellowish ?wa"e+length about =>00 tenth+metresA, and an ultramarine+blue ?about <8:0AJ4
htt$EFFen4wi5i$edia4orgFwi5iF0rimar%1color

Corres$ondence of Sounds, Colors and Numbers regarding 0rimar% !dditi"e and 0rimar% Subtracti"e
0'-)!'N !..-T-3* G# C E '*. &'**N BLU* +/+++++++ 8/8888888 -/------>=>,=:7 nm4 =: ,087 nm4 < ;,=87 nm4 < =,;0< HG4 =:;,:= HG4 >=7,:== HG4

0'-)!'N SUBT'!CT-3* F# A# D )!&*N N*LL( CN!N */******* 9/9999999 0/0000000 7;>,7:7 nm4 =8<,70 nm4 <><,:;> nm4 ;>7,77< HG4 <>>, >; HG4 =87,;:7 HG4

0rimar% !..-T-3* Sounds K 2:/ C/ E 0rimar% SUBT'!CT-3* Sounds K 5/ ;:/ A:

Sound(Color(Num!er <heels
! wheel with $rimar% and secondar% colors is traditional in the science as in the arts4 Sir -saac Newton de"elo$ed the first circular diagram of colors around the 70<4 Since then, an% color wheel which $resents a logicall% arranged sequence of $ure hues has merit4

70< 9 -saac Newton

77> 9 )oses Harris

8 0 9 #olfgang &oethe 4

Before the first circular diagram of colors, in ==8 &ioseffo Qarlino in his boo5 BLe -stitioni HarmonicheC draws the first wheel of sounds titled BNumeri sonoriC

This is the Sound Color #heel in Base 7

Com4lementar= Sounds/ Colors and Num!ers

-n color theor%, two colors are called com4lementar= if, when mi2ed in $ro$er $ro$ortion, the% $roduce a neutral color ?gre%, white, or blac5A4 -n roughl%+$ercentual color models, the neutral colors ?gre%, white, or blac5A lie around a central a2is4 ,or e2am$le, in the HS3 color s$ace, com$lementar% colors ?as defined in HS3A lie o$$osite each other on an% horiGGontal cross+section4 Thus, in C-* 7; color s$ace a color of a $articular dominant wa"elenght can be mi2ed with a $articular amount of the Bcom$lementar%C wa"elenght to $roduce a neutral color ?gre% or whiteA

-n the '&B color model ?and deri"ed models such as HS3A 0rimar% colors and secondar% colors are $aired in this wa% RE5 > C3AN 2REEN > MA2ENTA BL&E > 3ELLO<

!n%wa% we can a$$l% the same theor% of colors either for sounds and Base 7 numbers

Com4lementar=

Analo$ous

Triad

Com4lementar= Colors and Sounds that are o$$osite each other on the wheel are considered to be com$lementar% Analo$ous !nalogous scheme use Colors and Sounds that are ne2t to each other on the wheel Triad ! triadic scheme uses Colors and Sounds that are e"enl% s$aced around the wheel

Chromatic 2eometr=

The wheel of sounds in Bequal tem$ered scaleC is re$resentable b% an h%$oc%cloid cur"e with twel"e cus$s4 -n geometr% a h%$oc%cloid is a s$ecial $lane cur"e generated b% the trace of a fi2ed $oint on a small circle that rolls within a large circle4 The red cur"e is the h%$oc%cloid traced as the smaller blac5 circle rolls around inside the larger blue circle4 ?$arameters are ' K :, r K and so 5 K :A The sine wa"e or sinusoid is a mathematical cur"e that described a smooth re$etiti"e oscillation4 The sine wa"e is im$ortant in $h%sic because it retains its wa"esha$e when added to another sine wa"e of the same frequenc% and arbitrar% $hase and magnitude4 -t is the onl% $eriodic wa"e form that has this $ro$ert%4 This wa"e $attern occurs often in nature, including, sound wa"es, light wa"es and ocean wa"es4 To the human ear, a sound that is made u$ of more than one sine wa"e will either sound Bnois%C or will ha"e detectable harmonics4 This ma% be described as a different timbre? ? htt$EFFen4wi5i$edia4orgFwi5iFSine1wa"e A

The corres$ondence of Sounds, Colors and Base 7 Numbers res$ects these mathematical and $h%sical $rinci$les4

Chromatic Num!ers !et)een * and +*

0,00000000 M 0,<0<0<0<0 , M 0,<0<0<0<0 :,:::::::: M 0,<0<0<0<0 ;,;;;;;;;; M 0,<0<0<0<0 <,<<<<<<<< M 0,<0<0<0<0 =,======== M 0,<0<0<0<0 K K K K K K 0,<0<0<0<0 ,= = = = :,>:>:>:>: <,0<0<0<0< =, = = = = >,:>:>:>:> 0,00000000 F# G 0,<0<0<0<0 M 0,<0<0<0<0 A ,= = = = M 0,<0<0<0<0 B :,>:>:>:>: M 0,<0<0<0<0 C# <,0<0<0<0< M 0,<0<0<0<0 D# =, = = = = M 0,<0<0<0<0 F >,:>:>:>:> M 0,<0<0<0<0 K K K K K K , :,:::::::: ;,;;;;;;;; <,<<<<<<<< =,======== 0,00000000
? octa"e u$A

G# A# C# D E# F#

CHROMOSCALE
C=clic Order in Base

C%clic Number is an integer in which c%clic $ermutation of the digits are successi"e multi$les of the number4 *"er% $ro$er multi$le of a c%clic number ?that is, a multi$le ha"ing the same number of digitsA is a rotation4 -n Base 0 the first B$rime numberC that $roduce c%clic numbers is the 7 b . +*/ p . the c%clic number is 0, <:8=7 <:8=7L4 ! c%clic order is a wa% to arrange a set of obRects in a circle4 Set with a BC%clic (rderC is called a c%clicall% ordered set or sim$l% a c%cle4 Monotone functions The Jc%clic order K arranging in a circleJ idea wor5s because an% subset of a c%cle is itself a c%cle4 -n order to use this idea to im$ose c%clic orders on sets that are not actuall% subsets of the unit circle in the $lane, it is necessar% to consider functions between sets4 ! function between two c%clicall% ordered sets, f E X S Y, is called a monotonic function or a homomorphism if it $ulls bac5 the ordering on YE whene"er Tf?aA, f?bA, f?cAU, one hasTa, b, cU4 *qui"alentl%, f is monotone if whene"er Ta, b, cU and f?aA, f?bA, and f?cA are all distinct, then Tf?aA, f?bA, f?cAU4

Based on this $rinci$le, born the CHROMOSCALE in @@ CHROMOTONES

The first 5nown occurrence of e2$licitl% infinite sets is in &alileoVs last boo5 Two New Sciences4 &alileo argues that the set of squares is the same siGe as S K W ,<,7, >,:=,444X is the same siGe as N = W ,:,;,<,=,LX because there is a one+to+one corres$ondence E Y , :Y<, ;Y7, <Y >, =Y:=, LLL !nd %et, as he sa%s, S is a $ro$er subset of N and S e"en gets less dense as the numbers get larger4

Chromotones in CHROMOSCALE

CHROMOSCALE with its @@ Chromotones gi"e the $ossibilit% to de"elo$ the musical com$osition with harmonic microtonalit% and Rust intonation

CARCLE of ;A;THS

The Circle of ;ifths is a sequence of $itches or 5e% tonalities, re$resented as a circle, in which the ne2t $itch is found se"en semitones higher than the last4 The Sound Color #heel on the left shows the Base 7 C%clic Numbers, while on the right the wheel shows the Circle of ,ifths in C MaBor4 !t the to$ of Circle the 5e% of C MaBor has non shar$ or flats4 Starting from the a$e2 and $roceeding cloc5wise b% ascending fifths, we can subtract the "alue of B ?:,>:>:>:A to obtain the 5e% of 2 that has one shar$4 ,rom the 5e% of 2, $roceeding to subtract :,>:>:>: to obtain the 5e% of 5 that has two shar$s, and so on4 Similarl% $roceeding countercloc5wise from the a$e2 b% descending fifths, $roceeding to add :,>:>:>: to obtain the 5e% of ; that has one flat, $roceeding to add :,>:>:>: to obtain the 5e% of B! that has two flats, and so on4 #e can construct geometricall% all Circle of ,ifths, ,ourths and Thirds with sim$le algebraic formulas4 The same rule can be a$$lied b% including all the Chromotones of CHROMOSCALE4

CHROMOSCALE Harmonics and ;ull MA5A Note Ran$e

Sound & Color ACC

This Calculator con"erts numbers and related transaction in numeric form, it shows the corres$onding "alue of sounds in HG4, Colors in Nanometers, '&B, C)ND, ZNQ, and the de"ice emits the resulting sound4

SO&N5 & COLOR CALC&LATOR with C%cle in 7 Harmonics

it is $ossible to build musical scores using mathematical functions and formulas sim$l% b% $la%ing with sound and color bands4

TH* C!LCUL!T(' C!N #('D -N ,(U' .-,,*'*NT )(.*S

BASE CALC&LATOR > Chromatic Num!ers BASE +* CALC&LATOR > Numerical Se'uence COLOR nm? to SO&N5S Con7erter SO&N5 HD? to COLORS Con7erter

about SO&N5 & COLOR ACC $lease "isit htt$sEFFitunes4a$$le4comFusFa$$Fsound+colorFid=777:0<;7[lKit/lsK /mtK8

Colour Ram4in$ for 5ata 6isual isation

#ritten b% 0aul Bour5e Oul% 77> ContributionE 'am$4cs b% 'ussell 0lume in .otNet CI4 This note introduces the most commonl% used colour ram$s for ma$$ing colours onto a range of scalar "alues as is often required in data "isualisation4 The colour s$ace will be based u$on the '&B s%stem4 Colour The most commonl% used colour ram$ is often refer to as the Jhot+ to+coldJ colour ram$4 Blue is chosen for the low "alues, green for middle "alues, and red for the high as these seem Jintuiti"eJ bounds4 (ne could ram$ between these $oints on the colour cube but this in"ol"es mo"ing diagonall% across the faces of the cube4 -nstead we add the colours c%an and %ellow so that the colour ram$ onl% mo"es along the edges of the colour cube from blue to red4 This not onl% ma5es the ma$$ing easier and faster but introduces more colour "ariation4 The following illustrates the $ath on the colour cube4

The colour ram$ is shown below along with the transition "alues4

!gain there is a linear relationshi$ of the scalar "alue with colour within each of the < colour bands4 -n some a$$lications the "ariable being re$resented with the colour ma$ is circular in nature in which case a c%clic colour ma$ is desirable4 The abo"e can be sim$l% modified to $ass through magenta to %ield one of man% $ossible circular colour ma$s4

R2B and CM3

! colour s$ace is a means of uniquel% s$ecif%ing a colour4 There are a number of colour s$aces in common usage de$ending on the $articular industr% andFor a$$lication in"ol"ed4 ,or e2am$le as humans we normall% determine colour b% $arameters such as brightness, hue, and colourfulness4 (n com$uters it is more common to describe colour b% three com$onents, normall% red, green, and blue4 These are related to the e2citation of red, green, and blue $hos$hors on a com$uter monitor4 !nother similar s%stem geared more towards the $rinting industr% uses c%an, magenta, and %ellow to s$ecif% colour, the% are related to the reflectance and absorbance of in5s on $a$er.

HSL/ Hue Saturation and Li$htness The HSL colour s$ace has three coordinatesE hue, saturation, and lightness ?sometimes luminanceA res$ecti"el%, it is sometimes referred to as HLS4 The hue is an angle from 0 to ;>0 degrees, t%$icall% 0 is red, >0 degrees %ellow, :0 degrees green, 80 degrees c%an, :<0 degrees blue, and ;00 degrees magenta4 Saturation t%$icall% ranges from 0 to ?sometimes 0 to 00\A and defines how gre% the colour is, 0 indicates gre% and is the $ure $rimar% colour4 Lightness is intuiti"el% what itVs name indicates, "ar%ing the lightness reduces the "alues of the $rimar% colours while 5ee$ing them in the same ratio4 -f the colour s$ace is re$resented b% dis5s of "ar%ing lightness then the hue and saturation are the equi"alent to $olar coordinates ?r,thetaA of an% $oint in the $lane4

htt$EFF$aulbour5e4netFte2ture1colourFcolours$aceF