The original impetus for creating a product with multiple tables that remapped how notes function came from the need to support a new way of playing called The Interval System.   There needed to be systematic, quick to edit, open-ended way to assign note locations and functions across MIDI instrument playing surfaces.

As the possibilities opened up, it was clear there were more and more functions that could be dropped into the tables that supported The Interval System, and many other types of functions that made an instrument into a musical laboratory of experimental playing options.

How The Interval System works:

At the heart of The Interval System are notes that effectively jump (leap), up or down, instead of standing still like traditional notes do.

We're all familiar with played notes that remain stationary.  However with NoteWeaver, playing can inherently produce one interwoven stream (per input instrument) of relative musical intervals that ongoingly move musical focal points, called References.  

Each new note plays relative to its corresponding Reference and updates the Reference to the new pitch.

Suppose you're using a keyboard and an interval note that's set to +4 is played over and over again.  This generates an ascending run of Major 3rds.  That's because there are 4 semitones in a Major 3rd interval. 

The sequence +4   -3   +4   -3  first jumps up a Major 3rd, then down a minor 3rd, then up a Major 3rd, then down a minor 3rd.   A minor 3rd interval is 3 half steps.

Each note is still chosen and played in real-time like before, however now the notes weave intricate musical tapestries that can powerfully add to, and improve, any previous style of playing..

Original human emotional feel, timing, and note dynamics are fully maintained.

Top Keyboard:

The top keyboard figure shows one simple example of how Functions and their Offset values can be applied to a keyboard.

Notice the numbers associated with the interval notes count up and down, centered about a D on the keyboard.  This is because the D is a symmetric, mirror-image keyboard location.       (Note:  G# is also a useful mirror-image location.)

The middle D note labeled "LI ?" repeats the Last Interval, whatever it was.  The ? mark simply means that the interval jump value the note triggers changes.  For example: pressing  -2   LI   +5   LI   first shifts down by a whole note, then shifts down by another whole note, then shifts up by a Perfect 4th, then shifts up by another Perfect 4th.  (because a Perfect 4th contains 5 half steps)

These jumping interval notes are also translated through the output scales.

Bottom Keyboard:

The P notes play in parallel with the above figure I, Interval producing notes.  That is, after an above Interval note jumps to a new value, subsequent  P notes remain stationary and play, fixed, in parallel relative to the last position of the Interval producing note.  When a new Interval note comes along, then new P notes play relative to the new Interval note, etc.  

Said another way, the upper Interval keyboard section ongoingly shifts the musical Key, or transposes, subsequent P notes as an integral part of the playing process. 

Suppose an Interval note of +5 is pressed. Just after that the "P 0" note at the lower keyboard C key, will get shifted to play the new note, over and over, since it is assigned a 0. The "P 2" note will play a whole step higher. If there was a "P -2" note somewhere, it would play a whole step lower, etc.

The C, Contrary notes do just the opposite.  After each Interval producingl note ascends, the C notes descend, and visa-versa.

Especially, when playing through various harmonic scales this can create some nice sounding interweaving harmonies where all the notes always fit together beautifully.

Note: 

The interval producing and parallel/contrary keyboard sections would often be layed out on a single keyboard during actual play, but are separate because they didn't fit on the web page together.

There are other functions that can be used to further control how The Interval System works, like:

1. Quiet reference positioning
2. Quiet reference shifting
3. Fixed reference setting, and playing a note
4. Interval Zone, which sets a low and high end wrapping points of note Intervals
5. Scale selection
6. Scale transposition
7. Map incrementing, or selection that remaps the entire playing surface
8. Layering, for choosing various layer functions for the notes

Also, while NoteWeaver Echo echos the final output notes that are produced, in various ways, the Arpeggiators arpeggiate incoming notes, so held interval producing notes get ongoingly arpeggiated, and when combined with Interval Zones that wrap notes, some very intricate note sequences can be made with ease -- then when this is combined with Echo, some incredible sounds are produced.

Base 12 Chromatic Numbering

So NoteWeaver numbering displays cleanly and works intuitively the numbers count chromatically using a Base 12 numbering system.  Base 12 numbering works cleanly for music because there are 12 chromatic notes in an octave. Base 12 numbering uses 12 digits in each place with an "a" and "b" inserted after the 9:     8   9   a   b   10   11    etc.  where 10 is one note, and 20 is a note, an octave higher. This is true for scales, for instance, but the Interval jumps can be negative.

12 is a great number because it's divisible by such a wide variety of smaller numbers. 

One valuable thing to understand and appreciate are the multitude of interval combinations of notes that can repeat each octave while being played. It's a matter of understanding simple addition, along with notes in various scales or chords and how they may, or may not harmonize and/or work together.  

Repeating sequences that add up to 12 often end up sounding really good since they remain in the same Key for each octave and produce the same notes, over and over again. 

Here are some repeating chromatic combinations that add up to 12:   

                          3  4  5      3  4  5      3  4  5         See Note

  5  7      5  7      5  7

  4  8      4  8      4  8

  3  3  3  3      3  3  3  3      3  3  3  3  

  4  4  4      4  4  4      4  4  4

  9  3      9  3      9  3      9  3

2  4  6      2  4  6      2  4  6

  6   6       6   6       6   6       6   6

2   2   2   2   2   2       2   2   2   2   2   2       2   2   2   2   2   2

2   2   2   6       2   2   2   6        2   2   2   6

and many more possibilities...

Of course these need to be ultimately balanced with negative jumping intervals.  

It often sounds good to hold the sustain pedal
down to produce a more full musically rich sound.

Note:       Combinations like [ 3  4  5 ] can be played in any of 6
              different orders creating unique musical effects:

3   4   5        3   5   4  

4   3   5        4   5   3  

5   3   4        5   4   3  

          Musical Intervals

  The following table lists some base 12 semitone
counts along with their associated musical intervals:

Chromatic Base 12             
Semitone Step Qty.                       Musical Interval 

     0     none,                                 Perfect Unison

  -1     or      1                       m2      minor 2nd, or a semitone
  -2     or      2                       M2      Major 2nd, or a whole step
  -3     or      3                       m3      minor 3rd
  -4     or      4                       M3      Major 3rd
  -5     or      5                       P4      Perfect 4th, or just 4th
  -6     or      6                       A4      Augmented 4th, or tri tone
  -7     or      7                       P5      Perfect 5th, or just 5th
  -8     or      8                      m6       minor 6th
  -9     or      9                      M6       Major 6th
  -a     or      a                      m7       minor 7th
  -b     or      b                      M7       Major 7th
-10     or    10                      P8       Perfect octave
-11     or    11                      m9      minor 9th
-12     or    12                      M9      Major 9th
-13     or    13                    m10      minor 10th
-14     or    14                    M10      Major 10th

-20     or    20                    P16      Perfect 2 octaves

      Musical Interval Dual Names

Also, depending upon the musical context, the exact same intervals
can have two different names and can change on the fly during a
performance:


Chromatic Base 12             
Semitone Step Qty                        Musical Interval 

           0                                        Perfect Unison   dim 2             

  -1     or      1                                  m2      Aug Unison
  -2     or      2                                  M2             d3
  -3     or      3                                  m3             A2
  -4     or      4                                  M3             d4
  -5     or      5                                  P4             A3
  -6     or      6                                  A4             d5       ( Tritone )
  -7     or      7                                  P5             d6
  -8     or      8                                 m6             A5
  -9     or      9                                 M6             d7
  -a     or      a                                 m7             A6
  -b     or      b                                 M7       dim Octave
-10     or    10                                 P8             A7
-11     or    11                                 m9      Aug Octave
-12     or    12                                 M9            d10
-13     or    13                               m10            A9
-14     or    14                               M10            d11

-20     or    20                               P16            A17   

Why Not Just Use Standard Interval And Note Names?

Because of the above potentially much more confusing dual-name, ever changing musical context of the intervals, NoteWeaver simply displays intervals and musical pitches as quantities of semitones.  Traditional interval and note names were experimented with and produced confusing results that filled the table cells in awkward, more visually noisy ways.  Using chromatic interval names alleviates the necessity of having to on-the-fly predict musical interval names, which is often impossible in the first place, since they can easily change on a continuous basis. Also, chromatically, interval addition and subtraction is more practical.