Rusca
Member
Hi everyone,
This saturday Berta and I were thinking about cubing challenges we could try and do, and I just saw her piano sitting there and thought: wait a minute... could we maybe just dictate a whole team blind solution using only the piano?
And so after giving it some thought, the encoding method to do it was ready. Here's how we did it:
First, we assign each face the root of a chord. For this we mostly used solfège names (most of them start with one of the letters we use in cubing), except for B, which had to be in alphabet note names to be useful. And then the remaining U face got "Sol" cause it means Sun in Spanish and both of those things are up (also it lets us have three pairs of V-I, musically speaking, which is nice).
Thus:
Then, we assign a chord quality to each face modifier:
And finally, we assign a couple of differences to manage wide turns, slice moves, and rotations:
As an example we can apply it to this ELL:
(y') r' U' R U M' U' R' U R
And we'd get:
(sol-sib-re), rem7, solm, ReM, SolM, Re5, solm, rem, SolM, ReM
(G-Bb-D), Dm7, Gm, D, G, D5, Gm, Dm, G, D
Here's the video of the attempt, in case anyone is curious:
Also, I'm having a slowly growing curiosity of how the hell would the current WR sound like if I composed a piece using its chords.
May do it at some point in the near future. If I do, I'll make sure we play it with Berta and upload it to YouTube, just for the fun.
Hope this was interesting. If anyone uses this in any cool way please share it!
Cheers,
Rusca.
This saturday Berta and I were thinking about cubing challenges we could try and do, and I just saw her piano sitting there and thought: wait a minute... could we maybe just dictate a whole team blind solution using only the piano?
And so after giving it some thought, the encoding method to do it was ready. Here's how we did it:
First, we assign each face the root of a chord. For this we mostly used solfège names (most of them start with one of the letters we use in cubing), except for B, which had to be in alphabet note names to be useful. And then the remaining U face got "Sol" cause it means Sun in Spanish and both of those things are up (also it lets us have three pairs of V-I, musically speaking, which is nice).
Thus:
R: Re (D)
L: La (A)
F: Fa (F)
D: Do (C)
B: Si (B)
U: Sol (G)
Then, we assign a chord quality to each face modifier:
Clockwise: Major
Counter-clockwise: minor
Double turn: Augmented
And finally, we assign a couple of differences to manage wide turns, slice moves, and rotations:
Wide turns: 7th chord
Rotation: arpeggiated
Slice move: empty fifth (direction depending on the root note, since there's no 3rd)
And that's it.As an example we can apply it to this ELL:
(y') r' U' R U M' U' R' U R
And we'd get:
(sol-sib-re), rem7, solm, ReM, SolM, Re5, solm, rem, SolM, ReM
(G-Bb-D), Dm7, Gm, D, G, D5, Gm, Dm, G, D
Here's the video of the attempt, in case anyone is curious:
Also, I'm having a slowly growing curiosity of how the hell would the current WR sound like if I composed a piece using its chords.
May do it at some point in the near future. If I do, I'll make sure we play it with Berta and upload it to YouTube, just for the fun.
Hope this was interesting. If anyone uses this in any cool way please share it!
Cheers,
Rusca.