@@smurphas6119 i am actually writing pieces i find musically fulfilling and using them to exemplify harmony to share beauty i find with others. this is a study but that doesnt mean its not a serious composition or consideration.
Super cool. Between the stuff you have been putting out and the stuff that mannfish has been doing, this style of video is starting to feel more like microtonal research, spending time honing in on a small corner of the microtonal universe and seeing what its about. Love mannfishs interval studies. I hope more people jump on this style, myself included.
Thank you! I think we are both microtonal-pilling a lot of people at the moment. His work is awesome and I hope to see more sound and music focused creators sharing microtonal beauty.
I am shocked at how easy to grasp this sounds. (Sounds, mind you, lol. Doubt it's easy to grasp conceptually) Despite being so experimental and alien, there is a real musicality to it. Kinda showcases how far our brains can go in identifying and resonating with patterns I guess.
Sethares describes a period of time in his book where he just kept stretching the octave and got used to it quickly, much to the dismay of a close friend upon hearing his experiments.
I love finding stuff like this due to the sheer absurdity of the sounds. When you listen to more mainstream music, chances are you can pinpoint who they take inspiration from because their music shares similarities. but when it comes to pieces like this, it's so beautifully unique to the artist, expressing what they wish through their knowledge of music theory and unrestrained by what others may think. I'll definitely give your other stuff a look, just maybe not while I'm supposed to be working lmao
Holy crap! I had no idea you were the same person from transvoicelessons! This makes me so happy because I love experimenting with microtonal music. This is such a great coincidence that the two channels you have have stuff I love!
How is this actually being played? Can't imagine being able to read such music quickly enough and having enough fingers and brain power to process it all in real time. Or being able to memorise it all. Interesting for me as an experiment using computers and pre programming though, but imho half or more of the beauty of music is in the real-time playing of a person plus instrument and their input to it. My personal enjoyment of sitting down at the piano and playing something that really moves and transports me, as well as listening to others play. For me it's what sends shivers down my spine and puts tears in my eyes. But each to their own. I do admire the skill of being able to produce this sort of music and the dedication of people who do it and work out all the harmony though. But I think 12 edo became popular for good and practical reasons as well as being able to produce truely beautiful music. As a piano tuner, I am also thinking of the nightmare of how to tune such an instument if it were an acoustic one!
I think this one is played back through the notation software, but Zhea plays the Lumatone in many of her videos. This would be revelatory to hear played by a human, it would lose a lot of rhythmic precision which might be something it needs as an etude to convey intent strongly (considering the wildly xenharmonic upper structures!). Like you, I also prefer a human touch to songwriter-type music, and find this to be a fundamentally different type (which I enjoy for other reasons)
I really like this. The expanded palette of notes and intervals seems to beckon me from a preoccupation with the past, and instead point me toward the uncharted future where self expression and creativity are all you have to go on.
I have perfect pitch, and I understand 12 tone at an extremely deep level. I can always just understand what's going on musically in many ways, whether by hearing it and understanding chord progression, interesting voicing, etc etc. There's something absolutely wonderful about the feeling of hearing something entirely new to the way I process music. I've been obsessed with your content for the last couple days, and I don't see this obsession going away very soon.
I find the harmony fascinating though I imagine the dimwits who dislike this are probably thrown off by the impressionistic rhythms. I think a genuine composition composed like a ballad with consistent rhythms, ostinatos and a lyrical melody using the 32 edo would be awesome and more accessable, even mind expanding, to the average listener.
your knack for finding such beautiful microtonal chords and showing people like me just what’s possible in different tunings is so lovely. thank you so much for sharing it
It's completely different system but it sounds so beautiful. It's obvious you've put many effort in this and found the intervals thats fits nicely. I hope more people would jump into this music because it can open so many ways to how we perceive music.
Not only is it reminiscent of modern pianists, like M. Finnissy (which I love), but it is more concordant/consonant than their "atonal" (more precisely: extreme Romantic chromatic) sound. The piano is sounding a bit tinny, muffled, suffocated even, it seems to me, I'd suggest brightening it up, especially in the lower register, making it sharper, less like a hammer hitting a towel, more like a hammer hitting a blade. It's just a suggestion. Compositionally, this is marvellous, and we need more harmony studies like this one. (Voice-leading studies too.) Simply outstanding study. I applaud thee. P.S.: consider less block chords on the bass clef, and more spaced out voicing. Consider even a _suggestive_ voicing (just the root + the "characteristic intervals" of that chord, say a half-flat third, or something).
thanks for the great feedback! i actually hate bright piano sounds and almost always use piano with mutes + una corda in many cases. i like the tone a lot on this piece except how it sounds on my mobile device. i will explore some brighter timbres for everyone next time. different timbres demand different harmony. ill see what comes out brighter. :) as for the block chords, these short pieces are harmony etudes so i wanted to focus on presenting the object at hand in its most concordant form. the direct object in this piece is a specific voicing and quality: R - 8 - t2 - d3 - P4 - 5 - b7 - t8 - 9 - t11 - t12 its fairly resistant to extra information coming in the low end and i didnt want to invert it much to lose or diminish its “core neutral “ quality for the sake of etude / education. :) thanks so much for your thoughtful engagement. i really appreciate it. looking forward to exploring some brighter piano to get outside my comfy zone ♥️🌸 suggestive voicing is a good way to express it. i tend to think more about voicings than scales or chords anyway
@@ZheannaErose thank you for your detailed response. I will keep engaging as long as I can. You seem to me one of the promises of new music, one of the most invested people in composing actually good sounding xenmusic. And it is the most interesting endeavour, also because it is needed, since xenmusic is so alien to everyone (even me, a theoretician and experimenter of it), we need stuff like what you do. I would even support financially if I wasn't myself in such dire economical circumstances (just a third world school teacher - aka more broke than broke).
@@EmptyKingdomson second listen freshly today i definitely hear what u mean btw. far too dark and muffled - even for my muffled tastes lol. i also greatly appreciate the support!
This is why I absolutely love Microtonal music. I would totally love to hear this kind of music used in a game soundtrack or something, it would be very interesting
One day i'll come back to this and understand the harmony, for me right now it's just some weird random piano smashing, many people are saying it sounds aqesome but i don't understand. If one day I come back and am able to understand it, it would be so magical
