I'm a Lumatic (17-EDO)
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- Опубліковано 8 вер 2022
- Lumatone live performance of my newest composition in 17-EDO. This time, the screen recording failed s.t. there is no visualization of the pitch locations and ratios.
Again, the synth is a Fantom X-8 which I retuned with microwave (github.com/Woyten/tune/tree/m...) and tune-cli (github.com/Woyten/tune/tree/m....
BTW you can start an experimental version of microwave in your browser here: woyten.github.io/microwave/lau...
#lumatone #17edo #microtonal #xenharmonic
Wow! Playing the Lumatone like a legit instrument and not just an improvisatory experiment. Not that I don't enjoy those too. But it's nice to hear a full composition that says something with the unique expressive possibilities of the tuning.
I am glad this piece is longer than at least 2 minutes. Thanks for sharing! Beautiful playing 😊
Thank you! 🙂
I agree with you that a decent duration of a piece is important. Unfortunately, that's also the hardest thing to realize. Writing a 3 minutes piece is 20 times harder than writing a 30 seconds piece.
@@woyten that's right! Totally agree. At least you got your composition skill sharpened here :) keep up the good work man
I seriously come back to this video A LOT, currently one of my favorite songs! :)
this is awesome
Very nice piece!
I love this. The expression on this device is beautifully translated.
Cool use of that intense pull from 17's major intervals. That altered dominant sound you're using is wicked here as well, slightly unexpected. Is it 5-d7(b8)-4-b7-b3, I.e. as the regular Valt in minor but with a neutral third? (I know that's probably not the voicing you're using, but is it the usual scale 1-b2-b3-b4-b5-b6-b7-8 over the dominant?(5-b6-b7-b8-b2-b3-4-5 from the tonic))
Love the neutral second on the Im and IVm, and actually all the neutral intervals here. They almost feel more and more homely as the piece goes on.
Thanks for your analysis! 🙂
You are absolutely right regarding the altered dominant chords. Personally, I think of them as "normal" alt jazz chords but with a neutral third and an undecimal tritone. I "discovered" them when I wrote The Bedoginning since I was unhappy with the supermajor dominant flavor of 17-EDO's 7th chords. And, indeed, the alt scale I use seems to be identical notation-wise to the 12-EDO alt scale. Like you said!
Neutral 2nds or 6ths always sound good to me. Unlike neutral 3rds. Those only work for me when they are embedded in some convincing context (e.g. suspended 1-4-5-b7 or alt).
Very cool!
Thanks. Happy to hear from you!
Good work
Great work! Loved it!
And again coming back for this WONDERFUL piece!
Thanks for your nice comments, as always. Hope you also appreciate my latest one. 🙂 It was quite a lot of work.
Really good
nice
hell yeah he's back !
I've never been away. 🙂It's just that I also spend a lot of time writing my own microtonal synthesizer playground. Check out github.com/Woyten/tune/tree/master/tune-cli and github.com/Woyten/tune/tree/master/microwave. I am currently working on adding a 3D Lumatone visualization to microwave. So stay tuned. 😉
@@woyten Subscribed.
Weehah! Ear-scorcher; love it! I haven’t listened to much 17TET in eons.
So, looks like a modified 19TET key layout?
I’ve mostly been working with 31TET on my Lumatone, so far, but I’m looking forward to working with 2x17 - 34TET - on it in the future.
I wouldn't call it a modified 19-EDO layout. But like the preconfigured 19-EDO (and 12-EDO and 31-EDO) layout it is based on a circle of 5ths with 7 natural notes (5L2s). The large step size (e.g. C-D) is 3 EDO steps, the small step size (e.g. E-F) is 1 EDO step.
@@woyten, indeed that’s how I remember 17TET working out, along with the sharps being sharper than the flats (e.g., C# being sharper than Db), since the chromatic semitone is larger than the diatonic. That, unlike in 19 or 31, for example.
@@mr88cet Yeah, when notating chromatic lines this "over-sharpness" is a bit counter-intuitive s.t. people prefer to write Dd instead of C#. But for playing the Lumatone this feature has no real impact. C# and Db are spatially separated s.t. they don't visually appear to have some relation with each other.
@@woyten exactly! The magic of Bosanquet-Wilson keyboard layouts, in action.
My mentor in the field, Ivor Darreg, loved 17TET for its crazy reversal of the harmonic rules, somewhat reviving Medieval Music Theory that thirds are horrible dissonances that need to be resolved to fifths or fourths. In 17TET, the M3 is indeed so crazy-sharp, that that thinking starts to make sense again!
However, what I have long wanted to explore would be to the double/interleaved circle-of-fifths of 34TET. I set up my ancient Ensoniq ASR-10 to play it, way back in the mid-80s, diddled with it for a while, but didn’t have time to do much with it. Much later, my guitarist friend Neil Haverstick has done some pretty-cool work with it. He absolutely loved it!
@@woyten, by the way, my friend Brian McLaren wrote an entire Piano Concerto in 17TET. Admittedly, I only heard it once, quite a while ago, so I only vaguely remember it.