Section 1

The basics
of the
Geomusic theory
program
 THE CHROMATIC CIRCLE

The following is a diagram of a Chromatic Circle.

The Chromatic Circle is a less popular contemporary diagram for representing musical relationship, loosing out
to its brother, the Circle of 5th’s.

The Chromatic Circle is one of two circle diagrams that will be used in this application wherein geometrical
shapes will be constructed. The other being the Circle of 5th’s found on the following page.

This circle is constructed by dividing a circle into 12 equal parts.

These 12 equal parts will represent the 12 musical tones that are found in traditional Western Music.

There will be an assigned note value at each point where the radius touches the circumference.

The top of the circle will always begin with note C4, and will ascend chromatically (note by note), and clockwise
in the order of ...
C#4/Db4, D4, D#4/Eb4, E4, F4, F#4/Gb4, G4, G#4/Ab4, A4, A#4/Bb4,
B4, and finally, upon completing a full octave, C will become C5.

The same holds true for all octaves i.e. D4 will complete an octave and become D5 etc.

TEMPLATE CHROMATIC CIRCLE

C
B C# / Db

A# / Bb D

A D# / Eb

G# / Ab
E

G F
F# / Gb

The Chromatic Circle will prove to be an overall BETTER template for showcasing the inherent Geometry found
in Music Theory.

However, as we will continue to see, the Circle of 5th’s will prove expedient in some cases.

This is why both templates will be used in this application.

 THE CIRCLE OF 5TH’S

The following is a diagram of the Circle of 5th’s.

The Circle of 5th’s is one of the most popular contemporary diagrams for representing musical relationship.

The Circle of 5th’s is the other circle diagram that will be used in this application wherein geometrical shapes will
be constructed. The other of course being the Chromatic Circle described on the previous page.

This circle is also constructed by dividing a circle into 12 equal parts.

These 12 equal parts will represent the 12 musical tones that are found in traditional Western Music.

There will be an assigned note value at each point where the radius touches the circumference.

The top of the circle will always begin with note C4, and will ascend in intervals of 5th’s, clockwise ...

C4, G4, D4, A4, E4, B4, F#4/Gb4, Db4, Ab4, Eb4, Bb4, F4,
and finally, upon completing a full octave, C will become C5.

The same holds true for all octaves i.e. D4 will complete an octave and become D5 etc.

TEMPLATE CIRCLE OF 5ths

C
F G

Bb D

Eb A

Ab
E

Db B
F# / Gb

The Circle of 5th’s, although more popular, will none the less prove to be an overall POORER template for show-
casing the inherent Geometry found in Music Theory.

However, as we will continue to see, the Circle of 5th’s will prove expedient in some cases.

This is why both templates will be used in this application.

 COLOR TONE RELATIONSHIP (CTR)
&
APPLICATION TO MUSICAL THEORY

The fact is that there is no conclusive evidence in existence to support the argument that color relates to
musical tones. It is an unfortunate thing for some, but I tend to view it with a lighter heart. Given that there are
no absolutes, with regards to color relating to musical tones, it allows for an almost infinite combination color to
tone, which will in turn only promote greater artistic creativity within both the visual arts community, and the
musical arts community.

Although there is no scientifically proven correlation between color and tone, that is not to say that there
can not be a correlation. In fact, many advanced musicians, some born with perfect pitch and others who foster
relative pitch, have been reported as having a specific individual set of CTR’s. It has also been documented that
the great guitarist Jimi Hendrix, of the nineteen-sixties, had an ability to relate color to tone. In fact all of us may
in some way already relate color to musical tone. We may associate sad music with the color blue, or loud and
happy music with the color orange. We may also see loud music as bright, and quiet music as dim. All of this
suggests that a standard CTR model might drastically aid in the teaching of Music Theory to students of all ages,
cultures, and skill levels. GEOMUSIC THEORY will make an attempt to do just that; to make a uniform set of
CTR’s for the purpose of drawing relationships that will enhance the students experience with the arts.

A study titled On Associations of Light and Sound: The Mediation of Brightness, Pitch, and Loudness writ-
ten by Lawrence E. Marks and published in the 1974 edition of The American Journal of Psychology, reported on
findings suggesting that there indeed may be some correlation. The findings suggested that humans are able to
associate brightness of color, or luminosity, with intensity, or loudness of a tone, with some degree of regularity.
It also found amongst the subjects being studied that shade, soft, dark etc. drew correlations to tone-volume. But
at the end of the study, Marks reported no conclusive findings on the subject of Color-Tone Relationship (CTR).

All of this is said to highlight the fact that there is no conclusive evidence to suggest that certain col-
ors directly correlate to specific musical pitches. Given this truth, I set out to pick a standard set of colors from
which I might derive a system of musical / color relationship, in order to teach music theory. Ultimately realizing
that music is an artistic endeavor, I chose a set of colors that has been popular with artists since antiquity. This set
of colors known as the RBY (Red, Blue, Yellow) color model was also the genesis and foundation for the scientific
inquiries that ensued in the later centuries, ultimately leading to breakthroughs in color theory. It is my hope that
the RBY color model will again serve as a genesis point from which others can begin to inquire more thoroughly
into the relationship between color and musical tones.
 COLOR THEORY

RBG (Red, Blue, Green)

RBY (Red, Blue, Yellow)
&
ADDITIVE / SUBTRACTIVE COLOR SYSTEMS

Research has show the human eye to be Trichromatic, which means 3 colors.
The human eye has been shown to be most respondent to the colors Red, Blue, & Green, hence the common
RBG model of color commonly used today. This theory was set forth by Thomas Young and Hermann Helm-
holtz, in 1802 and 1850 respectively. The RBG model has since been scientifically proven to be true, and is used
today in mostly digital applications. The RBG theory model is called an “additive color model” in which Red,
Blue, & Green are added together in various ways to reproduce a broad array of colors.

The other color model is the RBY (Red, Blue, Yellow) model, which predates the RBG model and has
been popular amongst artists since classical times. In this model Red, Blue, & Yellow are considered the “three
psychological primaries”. The RBY model is also known as a “subtractive color model”. Subtractive color
systems start with light, presumably white light, and then colored inks, paints, or filters, are placed between the
viewer and the light source or reflective surface, and subtract wavelengths from the light, giving it color. Con-
versely, “additive color systems” start without light (black). Then light sources of various wavelengths are com-
bined together to make a color.

In either type of system, three primary colors are combined to stimulate humans’ trichromatic color
vision, sensed by the three types of cone cells in the eye, giving an apparently full range. RBY (Red, Blue, Yel-
low) is the formerly standard set of subtractive primary colors used for mixing pigments. It is used in art and art
education, particularly in painting. It predated modern scientific color theory, and has still survived today as the
preferred system for artists. It is the model that I have chosen to use to represent GEOMUSIC THEORY.

COMPLIMENTARY COLORS

Complementary colors are pairs of colors that are of “opposite” hue. In color theory, two colors are called
complementary if, when mixed in the proper proportion, they produce a neutral color (grey, white, or black). Be-
cause of the limitations imposed by the range of colors that were available throughout most of the history of art,
many artists still use a traditional set of complementary pairs, including: Red & Green, Blue & Orange, Yellow &
Violet (RBY Model). The complement of each primary color (red, blue, or yellow) is roughly the color made by
mixing the other two in a subtractive system:

Red complements (blue + yellow) = green

Blue complements (red + yellow) = orange
Yellow complements (red + blue) = violet

Red, Blue, & Yellow are the primary colors of the standard color wheel.
 THE RBY COLOR WHEEL

RED

YELLOW BLUE

As you can see Red, Blue, & Yellow form the three primary colors from which all other colors are derived.
Using the rules of complimentary color theory, Red and Blue are combined to make Purple which is a compli-
mentary color of Yellow, and can be found directly across the color wheel from Yellow. Also, when combined,
Yellow and Purple will form a Neutral Color. We can continue on to find that Yellow and Blue make Green, the
complimentary color of Red, which is also found directly across from Red on the color wheel. Lastly Yellow and
Red combine to make Orange, which, being its complimentary color, is found directly across from Blue on the
color wheel. Then if we combine Red with the newly formed Purple we will get Magenta, directly to the right of
Red on the color wheel. The same can be done for all of the newly formed colors. This is how all of the colors on
this wheel were derived.
 THE RBY COLOR WHEEL AS IT RELATES TO MUSIC THEORY

It was important that I chose a color wheel with 12 distinct colors, because traditional western music is
composed of 12 musical tones. The RBY color wheel was a traditional model that elegantly yielded 12 distinct
colors that are easily distinguishable. This is important for later teaching the student to correlate specific musical
pitches (tones) to exact color, and enforcing these correlations through repetition.

Take a moment to familiarize yourself with the 12 distinct colors on this wheel, and understand that you
will soon be relating specific musical pitches to each one of these colors.
 CTR (Color - Tone - Relationship) Color Wheel

B C

A#/Bb C#/Db

A D

G#/Ab D#/Eb

G E
F#/Gb F

The CTR Wheel (Color-Tone-Relationship) combines the colors of the RBY color wheel with the 12 tones of the
Western Musical System.

Note that the 12 notes ascend chromatically (step-by-step) and use “enharmonic spelling” (two names for the
same note) in some instances.

The places where we find enharmonic spelling are ...

Magenta C#/Db,
Indigo D#/Eb,
Green F#/Gb,
Yellow G#/Ab,
Orange A#/Bb.

It is also important to recognize that E, F are always half steps, and B,C are also always half steps.

Understanding the basic progression of the 12 tones and how they correlate to the RBY color wheel is essential to
grasping the full impact of GEOMUSIC Theory.

The lines on the wheel are meant to show which colors are complimentary (opposite). This can be understood
in terms of Music Theory as well, but don’t be fooled by the misnomer “complimentary”. Complimentary colors
are colors that are OPPOSITE, likewise the two notes found in any complimentary color set i.e. C & F#/Gb will
ALWAYS form a “tritone”. In Music Theory “tritones” are the two notes that are most “dissonant” (work least well
together). In this sense tritones are “opposite” just as complimentary colors are “opposite”. When combined these
two colors/notes create dissonance. In the case of “colors” they form a Grey color (as shown in the center of the
CTR Wheel), and in the case of “tones” they form a tritone, or the sonic equivalent of the color Grey. I would
suggest that you play the “tritone” notes together and study the sound that is created. Try to envision the color
Grey.
 INTERVALLIC RELATIONSHIP

Next I will explain “Intervallic Relationships”. Just as the 12 notes have individual names ...

i.e. C, C#/Db, D etc. etc.

... we also have names for when specific combinations of tones are played together. We already began to explain
this in the previous page. We said that when C is played together with F#/Gb we have an intervallic relationship
that is called a “tritone”. We can also assign names to ALL of the combinations of the 12 tones played together.
Below is a chart of the names of the notes when played together, and I’ve also incorporated the color model into
this chart as well.

When beginning to name intervallic relationships we MUST always assign a concrete starting point. This
starting point is ALWAYS called the TONIC. The tonic acts as a “home base” for the scale, and it is used to estab-
lish intervallic relationship. So in other words, the intervallic relationships ALWAYS will relate to one of the two
notes being evaluated, and this one note will ALWAYS be the tonic.

The chart below offers a clear break-down. I have chosen to use C as my tonic. Note that you don’t always
have to use C as your tonic “home base”. You can assign any note as the tonic. D could be the tonic, E could be
the tonic, F# could be the tonic, it doesn’t really matter. The interval relationship names (minor Third, Major
Third, etc.) will always remain the same no matter which note you choose as your tonic.

The below chart should help clarify any remaining questions you may have, and if it doesn’t there are four
diagrams on the following pages that will help nail this concept home for you.

C = Tonic = Red
C & C#/Db (played together) = Minor 2nd (m2) = Magenta
C&D (played together) = Major 2nd (M2) = Violet
C & D#/Eb (played together) = Minor 3rd (m3) = Indigo
C&E (played together) = Major 3rd (M3) = Blue
C&F (played together) = Perfect 4th (P4) = Blue/Green
C & F#/Gb (played together) = Diminished 5th (*5) (Tritone) = Green
C&G (played together) = Perfect 5th (P5) = Green/Yellow
C & G#/Ab (played together) = minor 6th (m6) = Yellow
C&A (played together) = Major 6th (M6) = Yellow/Orange
C & A#/Bb (played together) = minor 7th (m7) = Orange
C&B (played together) = Major 7th (M7) = Orange/Red
C&C (played together) = Octave (8ve) = Red
 Diagram 1

Intervallic-Relationship-Distance-Lines in Chromatic color progression.

 DIAGRAM 2

Intervallic-Relationship-Distance-Lines in Chromatic color progression with Interval Names and color descrip-
tion.

Tonic Red
M7 Red/Orange m2 Magenta

m7 Orange M2Violet

M6 Yellow/Orange m3 Indigo

Yellow m6 M3 Blue

P5 Yellow/Green P4 Blue/Green
*5 Green
 DIAGRAM 3

Intervallic-Relationship-Distance-Lines in Chromatic color progression with Interval Names, color description,

DISPLAYED OUT OF CIRCLE.

RED Tonic
MAGENTA m2 (minor Second)
VIOLET M2 (Major Second)
INDIGO m3 (Minor Third)
BLUE M3 (Major Third)
BLUE/GREEN P4 (Perfect Fourth)
GREEN *5th (Diminished Fifth)
GREEN/YELLOW P5 (Perfect Fifth)
YELLOW m6 (minor Sixth)
YELLOW/ORANGE M6 (Major Sixth)
ORANGE m7 (minor Seventh)
ORANGE/RED M7 (Major Seventh)
RED 8ve (Octave)
 DIAGRAM 4
THE COLORED SINE WAVE
Most of you I’m sure are familiar with what a sine wave is. Sine waves are the types of waves by which
sound propagates. Below I have incorporated color, the inervallic-relationship-distance lines that are formed
within the Chromatic Circle and the Circle of 5th’s (see previous page), and I have shown that when these two
elements are combined in a progressing format i.e. C to C octave, a sine wave is formed. This is just one more
example of how geometry is apparent within music theory models.

Did you know? The Sine wave is not necessarily a Geometric Function but a Trigonometry Function.
 ADDITIONAL INTERVALLIC NAMES
Tonic Red
Leading Tone Red/Orange m2 Magenta

SubTonic Orange Supertonic Violet

SubMediant Yellow/Orange m3 Indigo

Yellow m6 Mediant Blue

Dominant Yellow/Green SubDominant Blue/Green

*5 Green
There are some other names that have been used throughout history to describe the “function” of these
intervallic relationships. I have included some of these names here in this chart, as well as showed how these
intervals relate in a circle diagram. In the above diagram we can see how the color spectrum rotates around the
wheel. We can also see how the notes get farther away from each other, culminating at the *5th, and then getting
shorter again as they approach the Tonic again, but now upon returning, the tonic is one Octave higher.
The new names are as follows ...

Major Second (M2) becomes SuperTonic

Major Third (M3) becomes Mediant
Perfect Fourth (P4) becomes SubDominant
Perfect Fifth (P5) becomes Dominant
Major Sixth (M6) becomes SubMedian
minor Seventh (m7) becomes SubTonic
Major Seventh (M7) becomes Leading Tone

Remember that these new names are just another way to name an Intervallic Relationship. These names are a bit
more historical and have to do with function, something that deals more with compositional theory.
See this following chart to see how these names were derived.
 TEMPLATE CHROMATIC CIRCLE
C
B C# / Db

A# / Bb D

A D# / Eb

G# / Ab E

G F
F# / Gb

The above diagram incorporates the Chromatic Circle with Color Dots.

Each Color Dot is assigned to its corresponding tone.

We can call these the Color-Tone-Dots.

These Color-Tone-Dots and their related musical tones will never change in GEOMUSIC THEORY.

We also see that within the Chromatic Circle diagram, the colors progress perfectly along the color spectrum just
as was shown in the CTR Wheel. Thus, the Chromatic Circle will be a very eloquent diagram for showcasing the
geometry of GEOMUSIC THEORY.
 TEMPLATE CIRCLE OF 5ths
C
F G

Bb D

Eb A

Ab E

Db B
F# / Gb

The above diagram incorporates the Circle of 5th’s with Color Dots.

Each Color Dot is assigned to its corresponding tone.

We can call these the Color-Tone-Dots.

These Color-Tone-Dots and their related musical tones will never change in GEOMUSIC THEORY.

We also see that within the Circle of 5th’s the colors DO NOT progress perfectly along the color spectrum. This
is because the Circle of 5th’s is not “Chromatic”. Thus, the Circle of 5th’s will NOT be a very eloquent diagram for
showcasing the geometry of GEOMUSIC THEORY, but still yields important results.
 Section 2
The Beginning of
geomusical
structures
within
cricle diagrams
 THE BEGINNING OF GEOMETRY WITHIN
the
CHROMATIC CIRCLE
&
THE CIRCLE OF 5TH’s

TEMPLATE CHROMATIC CIRCLE TEMPLATE CIRCLE OF 5ths

C C
B C# / Db F G

A# / Bb D Bb D

A D# / Eb Eb A

G# / Ab Ab
E E

G F Db B
F# / Gb F# / Gb

UNIFORMITY WITHIN DIFFERING CONSTRUCTS

It is VERY important that we note that SOMETIMES we will see uniformity within differing constructs. What I
mean by this is that, although we are looking at two DIFFERENT models (Chromatic Circle vs. Circle of 5th’s)
we still see the same line being drawn. This is defined as “Uniformity within Differing Constructs”.

In the above diagrams BOTH circles are drawing a line creating an interval of a M2 (Major Second). As we
learned in the previous pages C played together with D creates an Interval of a M2 (Major Second). We also
learned that C is always going to have a Color-Tone-Dot that is Red. Additionally we also learned that the inter-
val-relationship-distance-line that connects a M2 will always be Violet (see page 13). So although we have two
different circle diagrams we are seeing the interval of M2 represented in the same way. THIS WILL NOT AL-
WAYS HAPPEN! On the next page we will evaluate an instance where this does not happen.
 THE BEGINNING OF GEOMETRY WITHIN
the
CHROMATIC CIRCLE
&
THE CIRCLE OF 5TH’s

TEMPLATE CHROMATIC CIRCLE TEMPLATE CIRCLE OF 5ths

C C
B C# / Db F G

A# / Bb D Bb D

A D# / Eb Eb A

G# / Ab Ab
E E

G F Db B
F# / Gb F# / Gb
VARIATION WITHIN DIFFERING CONSTRUCTS

Here we have the same two circle diagrams that we saw on the previous page. Both are correct be assigning the
Red color-tone-dot to C, and both are correct by making the interval-relationship-distance-line Green Yellow to
represent the interval P5 (Perfect Fifth) (see page 13). But one of the diagrams is not necessarily accurate in its
representation of line length as it corresponds to interval distance. This is where we begin to see a break down in
the accurate visual representation of GEOMUSIC within the Circle of 5th’s. This is why I have been saying since
the beginning of the book that the Chromatic Circle is BETTER for showcasing GEOMUSICAL structures, and
that the Circle of 5th’s is WORSE.

The Chromatic Circle more accurately represents visually, the distance of the interval P5.
The Circle of 5th’s does not. The Circle of 5th’s takes the interval of P5 and makes it visually look like it is a m2
(minor Second). This does not mean that we should throw away the Circle of 5th’s in GEOMUSIC. No, it will still
yield very beautiful shapes, and it is EXTREMELY helpful later when we study chord progression.
 THE HYBRID CIRCLE
CHROMATIC CIRCLE + THE CIRCLE OF 5TH’s

C
B/F C# / Db / G

A# / Bb D

A / Eb D# / Eb / A

G# / Ab
E

G / Db F/B
F# / Gb

In some cases it will be necessary to use a “Hybrid Circle” (Chromatic Circle and Circle of 5th’s superimposed).

The reader should study the above Hybrid Circle and be prepared to see it occasionally in future diagrams.

Although it is not used often it will be seen in the following pages, as certain geometric structures become re-
dundant (see page 19 for an explanation of why redundancies occur).
 SYMMETRICAL INTERVALS & SYMMETRICAL SHAPES vs ASYMMETRICAL (DIATONIC)

What would you do If I asked you to stack intervals in symmetrical distances. This is sometimes hard for tradi-
tionally trained musicians to do off the top of their heads. Most musicians are trained to think in terms of scales,
and diatonic (relating to a tonic) terms. Most musicians don’t think symmetrically. That is OK because symmetry
in music doesn’t always sound good. Symmetry in music can sound stale and cold, rigid or monotone. Perhaps
even mono-chromatic. You will soon see this all represented geometrically before your eyes in the following
pages. And if I may boldly say, I think that traditionally trained musicians are going to absolutely love learning
music theory in this new geometric and colorful context. But before we go on, I will first educate the lay man on
what it means to construct music diatonically so that we can eventually learn about symmetry.

Diatonic = Of or Relating to a Tonic.

All scales and intervals are diatonic. We learned this a few pages ago when we started studying intervallic rela-
tionships. But we were only studying these relationships in terms of two notes at a time. What if we wanted to do
more than two notes, say ... three notes, four, or even seven! All of that is very possible, and that is where Scales
& Chords come into play.

SCALES

Scales do what their name implies, they scale (ascend). The only scale that we have learned thus far in this book
is the Chromatic scale which ascends note by note through all 12 tones of the system. We see it represented in
the Chromatic Circle almost every other page. But most scales are not chromatic, no they don’t contain all 12
notes, instead they usually contain 7 notes, and one final note called the Octave, or the 8th note. These 7 note
scales are built upon formulas. And the formulas are VERY simple. The formulas require the user to move from
note to note in either a half step or a whole step. If you look at any Chromatic Circle Diagram in this book you
can easily see what half vs. whole steps look like. C to C#/Db is known as a half step, and C to D is known as a
whole step. It’s really easy!

MAJOR SCALE FORMULA

So Now I am going to give you the most famous formula in all of music history, the formula to the Major Scale.
Here it is ...

WWHWWWH

What the heck does that mean you may be asking? Well it’ simple. The W’s stand for Whole Steps, and the H’s
stand for Half Steps. So the formula re-written is ... Whole, Whole, Half, Whole, Whole, Whole, Half.
Those are the kinds of steps you need to take starting from your tonic in order to make a whole scale.

In Musical Alphabetic terms (Assuming you choose to start with C) this spells ...

1 1 1 1 1
C * D * EF * G * A * BC
^ ^
1/2 1/2

So Scales are nothing more than arrangements of notes in steps, and all of those notes in that arrangement are
said to be “Dia”Tonic to the tonic. In the above case the Tonic is C, so the rest of the notes are “Dia”Tonic to C.

Diatonic is the complete antithesis of Symmetric. I’m getting there, but first ...
 THE MAJOR SCALE
THE MEANING OF DIATONIC
Lets continue with our discussion about Major Scales and Diatonic notes, except now we will incorporate visual
models like the Chromatic Circle to help us visualize the process, as is the point of GEOMUSIC THEORY.
I will include the basic diagrams from the previous page here, and then ask you to study the below circle dia-
grams to see how the theory is visually represented in the circles. Within the Circles you can clearly see what is
happening, and further more, you can combine the three dimensions of learning music. If you play the notes on
ANY instrument you can listen to the sounds, you can see the Visualize the color, and you can cognitively under-
stand the inherent geometry of music theory. It’s a win win win as they say. So go ahead, take some time and
study all of the below diagrams.

W W H W W W H
1 1 1 1 1
C * D * EF * G * A * BC
^ ^
1/2 1/2
C
Notice which colors are used in this diagram.
B C# / Db
The line representing a M2 (Major Second) or
“Whole Step” is colored Violet. This is the color
A# / Bb D that will ALWAYS be used to represent a M2. That
is why we see it make its way all around the circle
being used everywhere there is a Whole Step (M2).
The Colored line between E,F is Magenta, the color
A D# / Eb associated with m2 (minor Seconds), or Half Steps.
Do you see how easy this is to visualize? Now notice
the difference between B,C. How come we don’t see
the color Magenta like we should. Is this a mistake?
G# / Ab Well, yes and no. You can use Magenta but I chose
E
to use the color Red-Orange that represents the
“Leading Tone” that we learned about on page 15. It
is important to me to make a distinction as to how
G F
F# / Gb the “Leading Tone” functions. It brings closure to
the scale, or creates a “Cadence” and thus, I believe,
C
requires a special color to show that distinction.
B C# / Db
Notice that in this diagram I am not using the colors
that relate to interval legnth, rather, I am using the
A# / Bb D colors that relate to the notes themselves. In this
context we can visualize the progression of the color
spectrum and hear the progression of the scale spec-
trum. We should also be aware of the geometry just
A D# / Eb like we were above.

Both diagrams are correct. Both do the same thing.

G# / Ab Study both and see the value in both approaches.
E
Learning music the GEOMUSIC way helps to
stiumlate more than your ears, it engages the whole
G F brain and helps you retain all that you learn.
F# / Gb
Diatonic major scales in all 12 keys

the importance of the geomusic approach

the ease

diffuculty of accidentals in linear form

ease in geoform