“Revelation tuning” is the tuning system Michael Harrison used for his album Revelation: Music in Pure Intonation. He describes it at Music In Pure Intonation.
It’s not a chromatic scale, and he picked the specific frequencies to produce perfect fifths (in a 3:2 ratio) and perfect minor sevenths (in a 7:4 ratio.) If I’ve calculated this correctly, these are the corresponding microtonal adjustments (to a precision of one cent): F 0, F# -27, G +4, G# -123, A +8, Bb -29, B +12, C +2, C# -125, D +6, Eb -31, E +10.
The algorithm I used is a bit complicated, but just in case you’re curious: since the gene is expressed as a surface protein antibodies can sense, it’s considered as a string of amino acids. Each beat corresponds to one amino acid, and the piece is in 3/4 time, so each six measures would correspond to five turns around the alpha structure. (I’m weaseling because I haven’t the foggiest idea how the protein actually gets folded.) Amino acids with side chains that are neither aromatic not aliphatic control the piano and organ: the nine non-hydrophobics the piano, and the four hydrophobics the organ. The three amino acids with aliphatic side chains control the low synthesizer, while the four with aromatics control the percussion.
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Update 2009-04-30: For folks coming in from the cnn.com article Making music out of swine flu and wondering about the line, “Zielinski saw it as a form of highly organized information that a human did not design.”: Yes, that phrasing raises the question of who or what I think DID design it. (God? Aliens?) In reality, self-organizing systems evince great complexity without need for a conscious designer. Swine flu was not designed at all– it evolved.
Strictly speaking, this is a version of swine flu hemagglutinin, FJ966952. The actual amino acid sequence: