It's all Wendy Carlos' fault...


What's the reason of my fascination with
Carlos Gamma tuning system?
I have finally traced the reasons of it and they all lead to the discoverer of this tuning system!
Actually there is a single document responsible for it:
Wendy Carlos' 1986 article "Tuning: At The Crossroads" (the article originally appeared on Computer Music Journal in 1987 but I found it inside the "Beauty in the Beast" Enhanced CD, plus, it gets being mentioned almost every time someone talks about “exotic” tunings).
In that article she wrote a few things that really stuck in my mind:
She presents Gamma as: "
the essentially perfect (!) Gamma (on the classical just curve)", then says that "Gamma really requires a "Multiphonic" Generalized Keyboard, like most >24 divisions" and finally that "Gamma (9 steps to the minor third - 11 steps to the major third - 20 steps to the perfect fifth) is slightly smoother than Alpha and Beta (two other scales devised by her), having no palpable difference from just tuning in harmonies."
Isn't that enough for someone in a xenharmonic state of mind?
And so here I am, having already composed 3 pieces using a mode of Carlos Gamma on a regular
Halberstadt keyboard (Gammalan, Adagio Gamma and Moonlight Gamma Serenade) and about to get a "multiphonic generalized keyboard" for which I have already started devising some specific keyboard layout for it.

Pasted Graphic unknown

Looking forward to write the sequel of this article!!!