Brightness is literally just your third dimension of the lattice. Also, I imagined that song in the beginning of this video as a track that appears in Grim Fandango for Rubacava in a universe where microtonality caught on a little earlier.
Really powerful moment at 2:04! I like that there's clear logic going on but we still get comma shimmer in places, like 128/125 at 3:54. I'd love to perform this sometime - is it possible for one piano? Idk if you're aware of this but Infinitone 2 has actually made it easy to switch between tunings on a digital keyboard now.
hmm I DO have a single grandstaff with all the keyboard parts but it was written with two keyboards in mind. I''ll show you the score at some point!! (also 19edo song is nearly there.... for real... this time... lol!)
Really enjoyed this explanation! I also tend to think about things spatially more than anything else, when composing. Also bit of a stretch, but I hope someday you’ll consider posting your lattices/variations/etc on music streaming service
5:58 Well don’t you say that! It’s indeed really simple when constrained to how you used it here, so why bother with other primes while they’re not in use. I think understanding “up/down by 1/2/3 syntonic commas” doesn’t need to be complicated for a brain if you explain that it’s precisely this difference between a Pythagorean M3 and 5/4, and IIRC you explained it in another video. Then having more arrows is just natural because of course we might want to modulate and because there are no closed loops in JI so we may need to add more and more accidentals... ...well okay I see that it looks not as simple when I try to expand all the tidbits one needs to know it gets quite long. Still I think the concepts _are_ still quite simple, and you of all people are communicating them very much alright; there are worse ways. I forgot what I was trying to say but it was something in vein of being more optimistic about how complicated it might be to explain JI, particularly 5-limit. And I mean, there are notations that are less consistent or easy to parse that HEJI. This is quite a comfortable and consistent one. I dunno maybe Ben Johnston’s was harder (I forgot what it was, exactly). So it’s almost as transparent as it gets (well, FJS can be an alternative but I don’t think it changes anything in regard of reading what pitches are). Sorry, this tangent is quite tangential.
8:37 Ooo do share! I think I have an inkling but no more. Like if the music uses another interval as a prescribed equivalence, like 3/1, then if the composer is careful enough, small quantities of gentle 2/1 usage should be able to end up _not_ messing up this sense of equivalence (by being simpler and culturally the sole equivalence interval for many). But this isn’t even a method, it’s an “try and see if it works”: what’s gentle enough, how to make it work?
00:00 Piece
04:18 Some Theory and Thoughts
10:00 Simple Demo
THE RETURN OF THE KING
so excited for you to be back man!!!
Brightness is literally just your third dimension of the lattice.
Also, I imagined that song in the beginning of this video as a track that appears in Grim Fandango for Rubacava in a universe where microtonality caught on a little earlier.
Really powerful moment at 2:04! I like that there's clear logic going on but we still get comma shimmer in places, like 128/125 at 3:54. I'd love to perform this sometime - is it possible for one piano? Idk if you're aware of this but Infinitone 2 has actually made it easy to switch between tunings on a digital keyboard now.
Yess btw i have a lumatone im experimenting with Infinitone 2. If u ever wanna chat about it we can hehehe
hmm I DO have a single grandstaff with all the keyboard parts but it was written with two keyboards in mind. I''ll show you the score at some point!! (also 19edo song is nearly there.... for real... this time... lol!)
HES BACK THE GOAT IS BACK
Really enjoyed this explanation! I also tend to think about things spatially more than anything else, when composing.
Also bit of a stretch, but I hope someday you’ll consider posting your lattices/variations/etc on music streaming service
The return of a king
i love this very much thank you
good shit!
this is really cool
need that part at 2:41 to be its own song Plzzz
so so gorgeous
MISSED YOU BRO
Need.... more..... views......
4:16 mannfishh voice jumpscare
Huh, despite reading this comment I haven’t expected what exactly happened!
Why dont we have time?
my viewers tend to be pretty busy, they're like, professional athletes, astronauts, world famous MCs, medics in conflict zones, etc
@@mannfishhOh yeah, definitely
@@mannfishh also like 99% of them have ADHD as well, solid.
How would the keyboards need to be tuned? I've been thinking about this and my tiny mind can't figure it out.
ah I'm glad you asked, though it means revealing a little secret - i.imgur.com/z2jaQ2d.jpeg
It's like a harmonic board game. What software is it? LΛMPLIGHT would be proud.
I’m guessing it’s a custom visualizer probably
More reverb; less limiter. Otherwise, perection 👌👌👌
Oooh violent! 👏
5:58 Well don’t you say that! It’s indeed really simple when constrained to how you used it here, so why bother with other primes while they’re not in use. I think understanding “up/down by 1/2/3 syntonic commas” doesn’t need to be complicated for a brain if you explain that it’s precisely this difference between a Pythagorean M3 and 5/4, and IIRC you explained it in another video. Then having more arrows is just natural because of course we might want to modulate and because there are no closed loops in JI so we may need to add more and more accidentals...
...well okay I see that it looks not as simple when I try to expand all the tidbits one needs to know it gets quite long. Still I think the concepts _are_ still quite simple, and you of all people are communicating them very much alright; there are worse ways. I forgot what I was trying to say but it was something in vein of being more optimistic about how complicated it might be to explain JI, particularly 5-limit.
And I mean, there are notations that are less consistent or easy to parse that HEJI. This is quite a comfortable and consistent one. I dunno maybe Ben Johnston’s was harder (I forgot what it was, exactly). So it’s almost as transparent as it gets (well, FJS can be an alternative but I don’t think it changes anything in regard of reading what pitches are).
Sorry, this tangent is quite tangential.
8:37 Ooo do share! I think I have an inkling but no more. Like if the music uses another interval as a prescribed equivalence, like 3/1, then if the composer is careful enough, small quantities of gentle 2/1 usage should be able to end up _not_ messing up this sense of equivalence (by being simpler and culturally the sole equivalence interval for many). But this isn’t even a method, it’s an “try and see if it works”: what’s gentle enough, how to make it work?