Vonamoe - Georg Vogel / Clavemusicum Omnitonum 

and on the harpsichord!

Jazz is boring

@@CarlosTapia-bw2uu brother, no digas eso :c

@@CarlosTapia-bw2uu boring straight towards the center of the earth

@@CarlosTapia-bw2uu Jazz is not boring, it's just not for you

jazz is a logical next step after baroque. The classical and new age era are very different while baroque and jazz sound a lot like eachother. Check out early FRESCOBALDI canonza for instance, verrry jazzy. Smart you hear the connection.

@@TiwazGoudsnor I couldn't find Frescobaldi canonza, but I found some Frescobaldi canzona -- I'll check them out later. Edit: Did this. I wouldn't call canonza (at least I - IV) jazzy, but the point stands that some Baroque and some jazz do have something in common. This is more readily noticeable with some of the works of Vivaldi (for instance, some of the concertos from La Stravaganza).

​@@TiwazGoudsnorThe 32nd Beethoven piano sonata has a nice second mvt.

Hello @@Lucius_Chiaraviglio :) There is no "canonza"; it was simply a misspelling of "canzona" (meaning "song" in italian) ... Cheers :)

This actually kind of sound a lot like George van Epps to my tin drummer erar.

In cases like this, usually the simpler answer is likelier: the added complexity for both the player, listener and instrument builder apparently does not weigh up to the increase in musical enjoyment for most audiences. Another point might also count, namely that in music without tempered instruments, such pure and microtonal harmonies can already be enjoyed. In that sense, it is already widespread in a sense, which would be contrary to your point.

One can argue that LoFi contains elements of microtonal music. It's using continuously shifting microtones to texturise.

because most microtonal music doesnt sound this good..

my edge-lord hot take : our society is such that it does not produce western tonal harmony composer on par of the great composers of before, i think because we simple do not work enough. These geniuses started working every day of their life in early childhood. We simply do not have that level of commitment nowadays to that precise style of music, because its not like there are no musical geniuses anymore AND THEREFORE since we do not produce such geniuses to dedicate themselves to the new technocological advacenments, there are less works to be appreciated by the wider public. 'cause i think we can all agree this isntrument is just incredible and i am pretty sure that if this instrument had been around in the days of the previoulsy mentionned geniuses, we would have seen tonal harmony compositions where quarter tones are a thing and tonal harmony would have had to adjust to this like how do we even go about analyzing quarter tones? sorry i am very naive and enthusiastic just sharing my very biased opinions i dont see this as the absolute truth haha

It's probably because it's so complex that it's hard to use.

not to mention dexterity

lol

me

I agree. Not boring.

Very nicely put.

Just thought the same, some chords and cadences are almost middle period of Scriabin's style He probably would love this instrument though

@@rodnaskel2123 it's because of minor 3rd movements. you can notice the whole dom7 chord moving up/down (i forgot which)

Very insightful, completely agree.

You're right. This types of keyboards favour major thirds (and to a lesser extent minor thirds) at the expense of fifths mostly

Its 31-tet, which has pretty good thirds and a pretty good 7:4 (the "barbershop seventh").

Only sounds out of tune because your ear is trained to listen for the "normal" scales. If you listened to nothing but this style for a few years, modern pop would sound out of tune.

@@Uruz2012 do you always assume so much? You don’t know me 🤣

@@Uruz2012 No. Dissonance is objective.

The problem is that when you are limited to a manageable number of pitches, improving the purity of one type of interval tends to worsen the purity of others (aside from fortunate synergies that are the exception rather than the rule). To improve the purity of multiple types of intervals generally requires increasing the number of pitches, which makes them harder to use and makes building a fixed-pitch instrument more difficult and more expensive (the latter is especially true for a pipe organ). You can get some mileage out of going to an unequal temperament, but after a certain point this limits your ability to modulate to other key signatures.

the modulation to G half sharp was done over multiple measures and was a gradual pitch shift, meaning he cannot

@@LeakyJAZZ it wasn't a gradual pitch shift (if i remember correctly) it was more similar to a comma pump (look it up)

@@romeolz ohhh i remember that from an adam neely vid. I remember hearing jacob collier explain it himself and i couldve sworn it was just gradually shifting up but i could be wrong

This probably is equally tempered to 31 tones per octave. So most diatonic intervals are cleaner than in 12-tone equal temperament while it has a manageable number of tones. Transposition works like in any other equal temperament. Modulation to G half-sharp exactly is not possible because there are no quartertones, but modulation by a neutral third is possible.

I believe they're natural intervals but I can't be sure, you can look for this specific one by looking up the clavemusicum omnitonum, which studio31 has as linked in the description

@@soupisfornoobs4081 Maybe the uploader will eventually add this basic information to the video description above, so everyone may learn more.

I think I know what you mean

He isn't exactly gentle with some of the enharmonic shifts in his chord progressions. This music is very layered and I don't reckon was made to be accessible. There's a lot to stomach here but I like it. Not all microtonal music is like this

Honestly, this is the best example of microtonal music that's actually listenable that I've personally come across (not that I listen to much though but anyway). Very nice ideas here and there but barely coherent. It's a story which goes nowhere but ends up all over the place. This is what I imagine a musician would do with the have-baked melodies that I, a non-musician, come up with and humm to myself sometimes.

If you come up with and hum your own melodies you are (or could be, depending on definitions) a musician!

☹

There's a lot of competing "standards" for microtonal notation. In 31 equal temperament (which is what this instrument uses), C to D would be 5 'steps', so one option is to notate those as C, C half-sharp, C sharp, D flat, D half-flat, D (and all of those would be different notes; the enharmonic rules in 12TET don't apply here).

They're using 31-tet

One can very rarely plan for these things

I think it's a clavichord

@@Pigroooo No. It is a harpsichord, clavichords have a quieter and closed sound

nonono lumatone looks CRAZY i want one so bad but they’re expensive af but omg they look so cool

@@m00nbeams42 I love the look of the Lumatone too. I'm just not a connoisseur of microtonal music lol so I'm not sure I'd get a lot of use out of it

@@Kids_Scissors the design of the lumatone makes it super easy to just play around in, it gives an intuitive feel to many new tunings that make you truly get what makes them tick (it's an isomorphic keyboard which means there is only one shape per chord that you can transpose where ever you want)

​@@romeolzyeah, compared to this keyboard, which looks really cool but requires 31 different fingerings for each scale

it's not a piano

Not to mention that microtonal music is a staple in ancient music globally.

honestly i think the concept of microtonality is really a reflection of what european music theorists took for granted in the context of their own music. "Microtonal" or non-equal temperament music has always been present in other music traditions and continues to do so. That's what's normal for them! So hopefully someday we can understand these different music traditions according to their own understanding of tonality. It would be a music revolution.

@@RRRRRAAAAAAAAAHHHHHH yeah. all music is about getting used to it, you wont like a hard rock sound in first listen and it might sound like just noise to you but someone who listens to those types of music will call it a masterpiece. people just arent used to hearing microtonal notes, and they classify their sound as "wrong" because of what they are accustomed to, but after listening it for a while it starts to sound really unique and beatiful.

@@RRRRRAAAAAAAAAHHHHHH ​​⁠​⁠Equal temperament is great tho’. While I enjoy microtones, It’s rarely pleasant to listen to. In this composition, chords don’t even resolve, there’s nothing to grab onto, so many notes, and they all have weird relations,it just moves like a drunk person, almost with no intention. I feel like it should be done in moderation, with taste. And I think that some people really support this, just because they think that 12tet is some kind of western elitist conspiracy, while in reality 12tet is just a logical, easy to understand, learn, and use tuning. Idk I’m yapping sry

@@brucerain2106 certainly within this song there are some stylistic and aesthetic choices being made. Listen to Gamelan Pegulingan or arabic music or smth and you'll see how non 12TET traditions manage a cohesive and subtle system of note and chord relations.

I didn't even know this was microtonal until reading the comments

It’s jazz so it doesn’t matter if it’s microtonal

@@alexloveday6430"It's jazz so it doesn't matter if it's microtonal." That is one of the more astute comments here. Just think of what Billie Holiday and Ella Fitzgerald do with their voices! But perhaps, in jazz especially, the keyboard usually serves as "the reference" in matters of pitch, the "instrument that is neutral and doesn't stray from the true note", and so it is a shock when it suddenly abandons its time-honoured neutrality. Like Grandpa suddenly getting up at the dance and turning cartwheels.

It sounds, interesting

Bach's 5th Brandenburg Concerto comes to mind - the extended harpsichord cadenza in the first mvmt.

Baroque musique isn't modal, but tonal.

True. However, Bach inter-wove advanced chordal colorings into this works. Therefore, jazz. // Further, and in a real way, Debussy literally transferred these chording out of Classical Music and singlehandedly opened the door to jazz music. Debussy was aware of Scott Joplin's ragtime piano pieces (The Entertainer, Maple-Leaf Rag, etc), and publicly praised and defended his work, esp. Joplin being a black composer in the post-slavery US). Joplin composed in sonata from, and besides his novel rhythmic structures (swing), he lived and communicated in the tonality of the Classical composers. Generally good jazz musicians are familiar with and understand Classical music. @@gehirndoper

It's not coincidence. Jazz composers intentionally borrowed baroque tonality to create bebop. Taking a ii-V-I phrase and jamming another relative ii-V-[I] or a relative-V or a tritone sub in the middle of it all like a mutant chord-sandwich is basically Bach's calling card. And the rules of counterpoint created a wonderful structure for melodic improvisation. It was a damn good idea.

Indeed! From Bach's fascinating usage of fleeting, transitional jazz chordings, to black-slave Gospel sining, plus Debussy & Scott Joplin. Jazz came from these things, and generally, good jazz musicians take an active interest in Classical music and understand it on a deep (theoretical) level.

bah out of tune doesnt exist. the song sounds beautiful

It's microtonal - it has pitches that fall between the notes of the 12-tone scale which comprises basically all of Western music, like a note between C and C#. That's why it has so many buttons

agreed

Hahahaha

Well-tempered is for weaklings