drag a voice and let go: it rolls home to the nearest place where the notes agree, and rings like a music box. tap the terrain to add one. sound on, headphones welcome.
×1
quests
round0.0s
★★★
constellation complete
GAMUTtunings, looks & field guide
the brook
0 in the jar
nougats come from finds, quests, three-star rounds, good choruses, coming back each day, and leaving it on. they are never spent: each stone opens when the jar holds enough.
the jam
a play-along band in the manner of Jamey Aebersold's records, in 7-limit just intonation and 31-EDO. play the pad, the home row (A to ' and Q to P), or drag across the sky. the horn plays two bars; answer it in the next two.
looks
the Storeybrook looks print the same world in ink on paper. E turns the page to the next one. the older looks last for the visit: AND SO always reopens on paper, in the Storeybrook look you picked last.
the diff from 27 October, when the light looks got their ink: both builds running, with a line to wipe across, side by side, or one at a time. it opens in the look you're in. Esc closes it.
words
nothing on screen but the music. a chord's name rises when it changes, and quests come and go on their own. Q, or the Aa button in the corner.
overheard
off until you switch it on.
no guardians yet.
she hears the plain words first, then mishears them on purpose: I see becomes an ice cube, love a heart, and every I might become an eye. the guardians have no labels. tap one to switch its thing on, drag it anywhere, flick it away to send it to sleep.
notes or drones
notes: every voice is plucked in time, like a music box, and nothing hums underneath. drones: the held sines of AND SO 6.
the mirror
AND SO opened inside AND SO, as a phone, a foldable, a tablet, a laptop, 4:3 e-paper or a TV, to the pixel. copies can open copies, three deep. 6.1 is there as it was. K opens it.
versions
every AND SO stays playable, newest first. 8.1 and 8 are still there, and so are 7, 6.1, 6, the October builds, and the Gamut Field Guide. each keeps its own save.
mood
light: consonance first; voices glide from one sweet spot to the next. lean: dissonances hang, then resolve. frolic: everything skips home on the beat. normie: the piano grid and familiar chords.
the reels
a short film for every look, each showing different things. touch anything to take over.
W plays and stops them; the right arrow skips to the next one.
motion
tilt rolls the voices and leans the sky. shake for a new chord, twist your wrist to turn the root, flick to strum.
the bubble on the top bar is a spirit level: tap it to set level, hold it to switch tilt off. a game controller works too: left stick moves a voice, A glides, B moves the root, X adds a voice, Y changes the view, the bumpers pick a voice, the triggers zoom.
listen
the microphone stays off until you press it; pitch is worked out on this page and nothing is recorded or sent. headphones help it hear only you.
sound box
a Chladni plate, worked out from the physics: the chord shakes a metal plate from a stud at its centre, the sand is kicked off wherever the plate moves and comes to rest on the lines that stay still. higher notes, finer figures. tap the plate to sprinkle more; scroll over it to drive it harder.
tap the chip above the sound box, or press X, to change what it shows.
rounds
cover every target peg with a voice at rest. under 12 seconds earns three stars. every third round is by ear.
field guide
0 / 0
kept in this browser.
gestures
one finger per voice, up to four. drag the scale under the terrain to scroll, pinch it or drag up on it to zoom, tap it to hear a pitch, double-tap to jump in. turn the mandala to change chord; pinch it to change the beat. drag across the sky to play the harp. three fingers lean everything. on a phone: tilt to roll the voices, shake for a new chord, twist to turn the root, flick to strum.
5d lattice
drag the five glowing nodes around the mandala, or use the sliders: tuning, warmth, shimmer, space, pace.
keeps complexity in the middle band.
pandora's box · 5d
locked. it opens at 3 finds.
drag the puck. five vibes, blended: micro, groove, glow, drift, chaos. the music and Saelion both follow it.
read aloud
an English accent from outside this device's own region. the choice stays in this browser.
off until you switch it on. the key never leaves this browser except when a reading is sent to ElevenLabs. any error falls back to the system voice. no key is stored with the page.
headphones
split sends each voice's two tunings to different ears, so the shimmer happens inside your head.
feel
reference pitch
432 Hz is 31.8¢ flat of 440. it doesn't heal anything; it's just lower.
sound layers
all tuned to the current scale. the bells keep their minor-third tierce, which is why bells sound like bells.
rhythm & geometry
black hole
locked. it forms at 6 finds.
drag it around the sky. lower is stronger. it bends pitch, and it eats voices that sit too close.
saelion
an egg. it hatches at your first find.
drag it anywhere. tap for trivia, double-tap to change pose. the deeper the mirror and the longer you stay, the more eyes she has.
record
recordings save as .webm. replay runs here on the page.
saedo's journal
nothing yet.
storybook
presets
experiments
off until you switch it on. the 5D view is a penteract: 32 ratios, one prime per axis, projected 5D → 4D → 3D → your screen. drag to turn it, shift-drag to twist the hidden dimensions. detective mode names every node and lights the trail from the root to each voice, one prime step at a time. in any view, tap a node to hear it and read its factors, cents and Tenney height.
start over
gamut: from gamma ut, the bottom note of Guido's hexachords. later, the whole range.
1.0×
0:00Master volume70%
One chordplay anythingscore0
The bottom of the valley
prefers an Irish English voice if your device has one.
The brook
0 nougats
Stories
every stone is a whole scene: a look, a tuning, a view and a mood at once. nougats are kept, never spent.
Liner notes
The jam is built like a Jamey Aebersold Play-A-Long: a rhythm section and a chord chart, with the melody left out for you. Aebersold, born July 21, 1939, started the series in 1967; it runs to more than 130 volumes, and the piano and bass sit in opposite channels so you can turn either one off. He was named an NEA Jazz Master in 2014. Here the bass walks on the right and the voices on the terrain comp.
The changes are in tunings a piano can't play. Research summarized on Wikipedia puts the blue third anywhere from 7/6 (267¢) to about 350¢, with Cutting's analysis of early blues recordings centering it at 6/5 (316¢), often slurred toward 5/4 (386¢), which Temperley and colleagues call a neutral third; the blue fifth most often at 7/5 (583¢); the blue seventh at 7/4 (969¢, after Kubik and Curry) or, more commonly in Cutting's data, 9/5 (1018¢). Kubik and Curry also suggest 11/8 (551¢). Those are the blue keys on the pad.
Ethan Hein puts the theory in one line: “blues tonality comes from the overtone series of I and IV.” The twelve-bar jam builds every chord as 4:5:6:7, a slice of one overtone series, on 1/1, 4/3 and 3/2. The turnaround uses 31 equal steps, where 25 steps is 967.7¢, 1.1¢ under the barbershop seventh.
1955 inside AND SO (get a voice up to eighty-eight) is boogie-woogie in just intonation. Clarence “Pinetop” Smith recorded “Pinetop's Boogie Woogie” on December 29, 1928, in Chicago; Vocalion released it on March 1, 1929, the first known record with “boogie” in the title. Chuck Berry's “Johnny B. Goode” (Chess, March 31, 1958) opens with a riff borrowed from the single-note solo Carl Hogan played on Louis Jordan's “Ain't That Just Like a Woman” (1946), and Marty McFly plays it at the dance in Back to the Future (1985). These are citations: none of those recordings, melodies or lyrics is reproduced here.
Microtonal pop has precedent: King Gizzard & the Lizard Wizard's Flying Microtonal Banana (February 24, 2017) is in quarter tones, 24 equal steps, played on guitars refretted for it; the idea began with the Turkish bağlama.