This chanel is a blessing upon the music world I AM NOT KIDDING ! Never neard Xen music like this before, it feels soo natural and the weird is not forced for the sake of being different ! I hope you go far man ! 💙
i don't really see fifths dissonant until they're outside the diatonic range and even then they can slap quite hard in specific contexts (oneirotonic and mavilla are the GOATs)
@@g-ray7121 true it depends on context a lot as I mentioned in the video. The combination of flat perfect fifths and very flat major thirds does sound pretty wonky in the context of major triads. I think it’s cool though that this pushes us outside the framework of traditional harmony and melody.
i actually really like 0:8:15, it sounds warm and chill, (then again i am biased considering i generally prefer low entropy intervals to be flat than sharp regardless of 12's approx) who knows maybe i just have much higher concordance tolerance
@@g-ray7121 I certainly don’t mind it and would use it in some contexts. It’s very handy to be able to modulate to a flattone key for example to create contrast. I also really like the way flattone sounds melodically. I just don’t go to 26edo specifically for flattone
26EDO has more blues potential than I gave it credit for. Now I wonder what you could do with a well-tempered version, so that as you change key signatures, certain intervals really shine? Of course, that would be hard to pull off unless you had repositionable frets: www.youtube.com/@microtonalguitar
Yeah I've always felt that 7:4 is the missing blues interval. It almost feels like it was there all along. Also 26 has a very kind of warm and earthy quality to it, which just seems to fit the blues perfectly. This is also why I don't really like playing blues in 22edo, I guess it's too bright or something.
@@MicrotonalMaverick The things that are missing from 26EDO is a decent major third and a decent perfect fifth (and these would be hard to fix with a well-tempered version because they are so far off). You can get good versions of these in 46EDO, although that can be hard to use. But with a 26EDO instrument, you could also get a good major third with 52EDO by tuning strings in adjacent pairs 1 step apart from each other; this wouldn't fix the perfect fifth itself, but it would give you a dual fifth that lets you get a good ninth. Edit #1: On second thought, the 26EDO major third is very close to 26/21, so it's not all bad, although that borders on neutral third territory. Edit #2: On third thought, the next higher increment of 26EDO is take your pick of 14/11 or 33/26, so I guess you have a choice of a neutral-maor third hybrid and a wide major third. Edit #3: The fifth of 26EDO is only a couple of cents flat from 112/75 -- not right on, but close enough to benefit from a well-tempered version . . . or on a fretted instrument, bend the pitch up a couple of cents.
I actually probably should have called that 7/6. It’s sort of in between both of those. I’ll make a short going through all of the seconds too because basically from the minor third down all of the intervals sound amazing in 26edo.
Is it that hard to believe that there are notes beyond the 12 standard ones (that are only the standard notes in Western music)? I’ve demonstrated here that there are intervals like 7/4 (4:13) and 11/8 (8:17 - this is actually 11/4, the same interval + an octave), which are extremely in tune in 26edo and don’t exist at all in standard tuning. Personally I think that these colours are worth exploring 🙂
I'm glad you chose 22, 26, and 17 on guitar . I chose 17, 22, 19, 16, and 41. We should connect some time.
Nice! Those are great tunings
This chanel is a blessing upon the music world I AM NOT KIDDING !
Never neard Xen music like this before, it feels soo natural and the weird is not forced for the sake of being different !
I hope you go far man ! 💙
Thank you! I’m so happy to hear that! Thanks for the support 🙏
Ooooh! Thanks for this video. 26EDO is way cooler than I thought. And it's great to get more familiar with tunings that work for jazz, blues, etc.
this is the right approach both for the theory and the instrument, really useful 👍 nice played
Sounds like someone is trying to play blues with the most out of tune guitar in the world, and you know what? i like it.
i don't really see fifths dissonant until they're outside the diatonic range and even then they can slap quite hard in specific contexts (oneirotonic and mavilla are the GOATs)
@@g-ray7121 true it depends on context a lot as I mentioned in the video. The combination of flat perfect fifths and very flat major thirds does sound pretty wonky in the context of major triads. I think it’s cool though that this pushes us outside the framework of traditional harmony and melody.
i actually really like 0:8:15, it sounds warm and chill, (then again i am biased considering i generally prefer low entropy intervals to be flat than sharp regardless of 12's approx)
who knows maybe i just have much higher concordance tolerance
@@g-ray7121 I certainly don’t mind it and would use it in some contexts. It’s very handy to be able to modulate to a flattone key for example to create contrast. I also really like the way flattone sounds melodically. I just don’t go to 26edo specifically for flattone
Cool!
26EDO has more blues potential than I gave it credit for. Now I wonder what you could do with a well-tempered version, so that as you change key signatures, certain intervals really shine? Of course, that would be hard to pull off unless you had repositionable frets: www.youtube.com/@microtonalguitar
Yeah I've always felt that 7:4 is the missing blues interval. It almost feels like it was there all along. Also 26 has a very kind of warm and earthy quality to it, which just seems to fit the blues perfectly. This is also why I don't really like playing blues in 22edo, I guess it's too bright or something.
@@MicrotonalMaverick The things that are missing from 26EDO is a decent major third and a decent perfect fifth (and these would be hard to fix with a well-tempered version because they are so far off). You can get good versions of these in 46EDO, although that can be hard to use. But with a 26EDO instrument, you could also get a good major third with 52EDO by tuning strings in adjacent pairs 1 step apart from each other; this wouldn't fix the perfect fifth itself, but it would give you a dual fifth that lets you get a good ninth.
Edit #1: On second thought, the 26EDO major third is very close to 26/21, so it's not all bad, although that borders on neutral third territory.
Edit #2: On third thought, the next higher increment of 26EDO is take your pick of 14/11 or 33/26, so I guess you have a choice of a neutral-maor third hybrid and a wide major third.
Edit #3: The fifth of 26EDO is only a couple of cents flat from 112/75 -- not right on, but close enough to benefit from a well-tempered version . . . or on a fretted instrument, bend the pitch up a couple of cents.
God 13/11 sounds so good!! Very nice and depressing interval
I actually probably should have called that 7/6. It’s sort of in between both of those. I’ll make a short going through all of the seconds too because basically from the minor third down all of the intervals sound amazing in 26edo.
20/17
Listening to the jam and I can't help thinking this is all a wildly elaborate troll 😂
Is it that hard to believe that there are notes beyond the 12 standard ones (that are only the standard notes in Western music)? I’ve demonstrated here that there are intervals like 7/4 (4:13) and 11/8 (8:17 - this is actually 11/4, the same interval + an octave), which are extremely in tune in 26edo and don’t exist at all in standard tuning. Personally I think that these colours are worth exploring 🙂
@@MicrotonalMaverick Explore away, friend. Music is as vast a landscape as each of our taste allows it to be.