![]() If a white key has a half-tone interval on one side and whole-tone interval on the other, a performed vibrato will be asymmetrical, with twice the pitch movement on the whole-tone side than on the half-tone side. This also presents a problem for vibrato, a common expressive pitch gesture. Further, sliding from a white key to a black key requires a diagonal movement, which requires changing your Y-axis position. (Imagine the difficulty of bending strings on a guitar if bending an inch on one fret produced a whole-tone pitch change, but bending the same distance on the next fret produced a half-tone pitch change.) Plus, sliding up an octave results in a series of uneven pitch jumps. Because of the uneven pitch intervals of a piano's white keys, a pitch slide from B to C results in semitone pitch change whereas a slide from C to D (the same distance) results in a whole tone pitch change. So after researching a variety of note arrangements, it became clear that a stringed instrument layout-multiple rows of consecutive semitones overlapping in pitch- was superior and solved the piano's problems: β Problem 1: The piano's pitch intervals aren't uniform and the black keys are located behind the white keys βOn an expressive controller, the most intuitive way to perform pitch slides and bends is to slide your finger directly from one note to another. However, I soon discovered that the piano note arrangement presented too many problems for the performance of expressive pitch gestures. ![]() LinnStrument Fourths String Layout When I (Roger) first started designing LinnStrument, I considered making its flat 3D-sensing rubber pads in the shape and arrangement of piano keys. ![]() ![]() Why LinnStrument's Fourths String Layout is superior to the piano layout for expressive touch control β ![]()
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