so, best for funkier stuff, then.
When we run out of Major and Minor scales?
- Beware the Quoth
- 33109 posts since 4 Sep, 2001 from R'lyeh Oceanic Amusement Park and Funfair
my other modular synth is a bugbrand
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- KVRer
- 15 posts since 26 Oct, 2005
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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- KVRian
- 880 posts since 26 Oct, 2011
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.
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.
- KVRAF
- 25051 posts since 20 Oct, 2007 from gonesville
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.
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.
- KVRAF
- 25051 posts since 20 Oct, 2007 from gonesville
Here's some music that isn't at all concerned about running out of diatonic scales:
https://youtu.be/qHWXukltr3k
https://youtu.be/qHWXukltr3k
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- KVRAF
- 3089 posts since 4 May, 2012
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.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
- KVRAF
- 25051 posts since 20 Oct, 2007 from gonesville
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.
'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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- KVRAF
- 3089 posts since 4 May, 2012
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.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.
The almost ring-modulation-like dissonance that the oboist creates whilst weaving in Middle Eastern drones is quite wonderful also.
- KVRAF
- 25051 posts since 20 Oct, 2007 from gonesville
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. They look the same.
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.
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.