When we run out of Major and Minor scales?

Chords, scales, harmony, melody, etc.
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kovacs wrote: Thu Jul 09, 2020 10:05 am
whyterabbyt wrote: Thu Jul 09, 2020 9:55 am
kovacs wrote: Thu Jul 09, 2020 7:12 am constantly compose in dorian
that's one of them fish scales vurt was talking about isnt it?
It's a variant of durian but smells better.
so, best for funkier stuff, then.
my other modular synth is a bugbrand

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<quite interesting discussion on why popular music is so similar>
it sounds the same because it is the same. Incredible.

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There are only 64 squares on a chessboard but there are more possible iterations of chess games than there are atoms in the observable universe. I think music will be just fine for the foreseeable future with the number of possibilities afforded musicians.

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Western music isn't defined through scales but rather through key centers which can either be minor, major or generally very ambiguous. All the scales that are possible under 12TET have already been constructed but scales are just that: constructions that you can use when you make music. You don't need to stick to the 7 tones that you have in a typical diatonic scale and various common things (line cliches, tritone subs, secondary dominants) will have you go out of the scale.

What you seem to be talking about is not scales as much as just tuning systems that aren't 12TET. They already exist, there's endless amounts of them. But really, I doubt there's going to be anything too revolutionary there. Only real place where some improvements in tuning theory might happen is just intonation, where there is a small chance that we might have a better system than the current 12TET at least for music made with computers. But I wouldn't even get my hopes up about that, as it's a taller order than the worlds tallest building.

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I have no idea what an advancement in tuning would be, other than some kind of dynamic variability integrated with soft instruments velocity and pressure.

I used to bother with it and will again, as the VI Pro engine supports Scala if it's a twelve or less type of deal and sets a tonic, 1 of 12.
So, if the idea is to keep JI sort of intervals, natural 5:4 thirds and what-not yet modulate, you set up a matrix for your just int. whatever per key and switch to it as needed. It is interesting to me in and of itself because different sampled instruments might respond drastically different to a tuning, some of which owes to tuning variance in the samples, let alone w. the humanized pitch feature.

Some things you do not want to get very far away from A=440. You can't tune say a saxophone even down to like 435 and it shows, unnatural and messed-up sounding. Past a point "microtonal" eg. Sarod kind of intervals don't really travel to instruments not built for it either.

Generally I use pitch bend in the pitch bend lane, creatively or corrective.

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Here's some music that isn't at all concerned about running out of diatonic scales:

https://youtu.be/qHWXukltr3k

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jancivil wrote: Thu Aug 06, 2020 7:04 pm Here's some music that isn't at all concerned about running out of diatonic scales:

https://youtu.be/qHWXukltr3k
I found this kind of music before I ever heard of ASMR but found it so addictive because it triggers that for me. I find myself easily slipping into trance whilst I listen. That first piano piece was blissful but too short. Could have listened to an hour of that.

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The flute composition in that set contains a thing I have never heard before: two distinct tones, one of them is a harmonic which just sustains while she trills below it, somehow not interfering with the long tone. The other revelation there is Heinz Hollinger's oboe multiphonics and the big winds trio and their extended techniques.

'Music' is clearly a much broader and deeper concept than 'pop music'. Many seem to think there's nothing past pop.

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jancivil wrote: Thu Aug 06, 2020 7:53 pm The flute composition in that set contains a thing I have never heard before: two distinct tones, one of them is a harmonic which just sustains while she trills below it, somehow not interfering with the long tone. The other revelation there is Heinz Hollinger's oboe multiphonics and the big winds trio and their extended techniques.

'Music' is clearly a much broader and deeper concept than 'pop music'. Many seem to think there's nothing past pop.
I think the restriction of "pop" can feel safe to some but I love to listen to accomplished musicians explore their instruments in these ways. It's playful. I am guessing that the flautist is using the natural reverberation in the room to sustain the note whilst the trill is gently added to the end. It's very clever and displays great confidence.

The almost ring-modulation-like dissonance that the oboist creates whilst weaving in Middle Eastern drones is quite wonderful also.

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I'm an idiot here; this is not the guy with the brutal yet not unfair Sibelius review, this is VSauce, who is usually impressive in my experience. Sibelius guy even has a British accent iirc. :dog: They look the same.
:P

Topic seems sciency. I had a higher expectation of snarky Sibelius review guy, who is in fact a composer. Being an idiot, I jumped to a couple of conclusions, he may have argued we're *not* going to run out of new music. From the OP, the premise annoyed me considerable.

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Don’t overthink music, if it sounds good you’re on the right track. As long as you haven’t made music in every possible way with these two you’re not done, yet... lol!

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