“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.
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: