You are so dope. I’m so thankful the youtube algorithm worked like it did a year ago when I first subscribed. This is song is so cool; the way the conflicting wavelengths do that wobbly thingy, especially in the ending, is satisfying af. Keep doing that stuff plz
Absolutely incredible chords... Creates a whole new kind of emotion and atmosphere. I'd love to see how a synth like this would play with more rhythmic based instruments
Amazing as always Dolores. I would love to hear a movie scored by you, something like Under The Skin, I see a lot of parallels between the way you think and feel music and some of Mikachu's electronic compositions from that film.
A whole other world of music and sound! I compare it to a painter who has only twelve colors on her palette, and suddenly can paint with dozens of colors.
That ending is so frickin intense, it's like a good old dominant chord in third inversion, which was used even in baroque, but here it is like made out of neon lights which change colours with time, this is the future of microtonal music probably
Very nice! It helps me find reassurance in college after doing a boatload of homework! I can just close my eyes and let my thoughts run through my mind. I can just relax to this it’s my way of meditation
I've never played one but I love the sound. The ContinuuMini controller has 1-2 voice polyphony for this type of pitch-sliding effect: www.hakenaudio.com/continuumini
I am always dazzled by your music and approach to microtonality/polychromaticism.While listening to this though, I was wondering: have you ever done any pieces using a piano voice instead of saw-waves?
This is a fascinating question, Henry! The polyrhythms caused by interacting phase relationships and harmonics in polychromatic music are fundamentally unique in that they have no common metrical pulse (regularly irregular). A second element of polychromatic polyrhythm involves the randomness (in physical performance) of how all the intervals line up in time (or more precisely cycle). I can’t imagine how these dynamic aspects could be written in a fixed notation system. This also makes me wonder how metrical rhythms could be synergistically added to this type of music - when the music already contains so much rhythmic motion in itself.
@@dolomuse Thank you for your response. I do recall how you described the "ghost" sound created by the playing of multiple notes. So in a perfomance, the effect mentioned above, is the result of cycling between desired notes? Also as mentioned they do not contain a metrical pulse. Polyrhythms use a common "pulse" to expand from (not so sure). Where as in polychromatic the rhythm arises naturally. Did i understand you correctly ?
@@hankitnap5076 “So in a perfomance, the effect mentioned above, is the result of cycling between desired notes?” I am referring to wave cycles, as in cycles per second (cps or Hz). Each pitch contains harmonics (integer-multiple overtones) and inharmonics (noninteger-multiple overtones). Each of these component in/harmonic frequencies can be associated with a specific number of cycles per second (Hz). Further, we can add to this, even more frequencies (ghost notes; combinations tones, etc.) created by the phase and harmonic interactions associated with intervals/harmony. For me, the way these complex interrelationships are heard is, as a composite of varying rhythmic pulsations. Instead of sounding chaotic or random (because there is no common underlying pulse), I hear it as an integrated complexity of sound - where the individual component rhythms are regular, and yet the way these regular rhythms combine creates irregular, dynamically evolving, and somehow understandable rhythmic relationships. I think that exposure to these complex musical sounds can lead to a gradual familiarity and awareness of new musical qualities. And for me, the discovery of new musical qualities opens new worlds of musical possibility to explore! I am sorry this explanation sounds so complicated. It is really difficult to try to explain in words, aspects of music that are more easily expressed directly within the experience of listening; within the immediacy of a musical experience. When it comes to describing music, English feels like a foreign language sometimes.
@@dolomuse it does sound very abstract but i appreciate the effort to educate. I will continue to acquire knowledge and experience of the complex musical sounds. I wish you the best and look forward to the future paved by modern innovators like your self.
L. Ron Hubbard attempted stuff like this with POWER OF SOURCE, but he did not have the manual musical skills necessary on his limited equipment in 1974.
So, is there a music theory that describes and gives function to micro tonal harmony? Or is micro tonal harmony just an extension of traditional harmony?
Harmony is really a wide and somehow blurry field, and what you call "traditional harmony" isn't really defined. Besides the 12 different notes per octave you know from the piano you can have smaller or larger collections of notes, like African 5- 7- or 10-tone systems for example, or like 24 tones you get by dividing an octave into quarter steps. Then you can have different tunings for each of those collections, like for our 12 notes the twelve-tone equal temperament (being the one mostly used in popular western contemporary music) or twelve-tone just intonation for example. And then there are a gazillion different ways, traditions and common practices how to harmonically use those specified notes. But on the bottom line, harmony is based on the consonance and dissonance of intervals, defined by the overtone series (also called "harmonic series"), so that might be a good point to start. There's a nice wikipedia article about it (as well as lots of youtube videos).
@@stefan1024 thanks for your reply! To be specific, when I speak of traditional harmony I'm referring to chords having the 3 basic functions (tonic/ dominant/ sub dominant). My question is: in micro tonal harmony (as demonstrated in this video) are there more than 3 chord functions? I'm imagining the subtle nuances of micro tonal shifts in the chords could have some more complex functions not easily described by traditional harmony
@@tdubasdfg Those functions are also just based on the consonance and dissonance of intervals (especially fifths) and on some voice leading techniques (leading tones and such). Functional harmony isn't a solid law though, it's more of a common-practice that works very well in certain contexts. You can build different chords that have different, maybe more subtile functions than tonic/dominant/subdominant, what about sus-chords, or augmented chords for example? Also you can use your common chords in other harmonic ways than basic functional harmony, for example in modal jazz harmony, or by "borrowing" chords from other keys. You really don't have to look far to find examples where a dominant isn't followed by a tonic but a subdominant (in bar 9 and 10 of a 12-bar blues for example). The term "subdominant" is a bit of an umbrella term anyway, like, it's not the base itself (like the tonic) and it doesn't necessarily lead directly to the base (like the dominant), so let's just say it leads to ... somewhere else? Generally you can compose in functional harmony with microtonal systems, nuances will vary depending what particulary system you use. Having your notes spaced in fifths somehow (or something close enough to fifths) is really helpful here, since that's the base for functional harmony. But it's really not so much about the notes alone but how you decide to use them.
I think that you might find it useful to look into Jacob Collier's ideas of chords and harmony. As perhaps a more robust way to describe chords and harmony, he and other musicians use the terms "brighter and darker". A major chord is brighter than a minor chord, and a Lydian scale is brighter than a major scale, for example. One can then talk about tension and release in a more free manner. Certainly microtonal music seems to provide so many more examples of different shades of bright and dark.
You are so dope. I’m so thankful the youtube algorithm worked like it did a year ago when I first subscribed. This is song is so cool; the way the conflicting wavelengths do that wobbly thingy, especially in the ending, is satisfying af. Keep doing that stuff plz
Absolutely incredible chords... Creates a whole new kind of emotion and atmosphere. I'd love to see how a synth like this would play with more rhythmic based instruments
Amazing as always Dolores. I would love to hear a movie scored by you, something like Under The Skin, I see a lot of parallels between the way you think and feel music and some of Mikachu's electronic compositions from that film.
A whole other world of music and sound! I compare it to a painter who has only twelve colors on her palette, and suddenly can paint with dozens of colors.
That ending is so frickin intense, it's like a good old dominant chord in third inversion, which was used even in baroque, but here it is like made out of neon lights which change colours with time, this is the future of microtonal music probably
poly-stylistic high-res future, here we come!
Impactful!
So glad to see you here :D
Very nice! It helps me find reassurance in college after doing a boatload of homework! I can just close my eyes and let my thoughts run through my mind. I can just relax to this it’s my way of meditation
It always floors me, the beauty of these colors meshing.
Beautiful piece!
7:32 was the most interesting playing technique I've seen from you since you began uploading polychromatic compositions.
Truly beautiful. I don't have any words for what I see when I hear this.
I love your art music! 🌈💖🌈
Thank you for creating and exploring.. 👁
I'm listening to this at work - I don't want to go back to work. Beautiful!!!
This music causes me to makes crazy contorted Ren & Stimpy faces when the chords change
0:34 ❤️those beats!!
The bass texture at :35 is mind bending...
thank you
Beautiful words accompanying the beautiful music!
Beautiful! Absolutely beautiful!
I didn't know you still post! I discovered this channel a while ago & stumbled across it again. I love hearing this music 💖
Your compositions are highly addictive :) .... Nice work... its like music in its maximum form of harmonics :)
Espectacular
gives me shivers.
I really felt this one
You are epic, Dolores
That chord at 7:08 is so crazy!
your music is life changing! i am not joking!
pretty please put it on spotify if possible?
Beautiful!
5.55 is amazing
loved it , It got me thnking if you have ever tried sampling in one of Akai's products , like 'Force' or Native Instruments 'Maschine'?
Are you planning on putting it on bandcamp? Because I'd buy it!
Thanks! Here's the link: dolorescatherino.bandcamp.com/track/inflexion
@@dolomuse Thank you a lot, I just bought everything! So much great music, you really should write for orchestra or so. :D
Can I sing an a cappella cover of this? :)
Sure! My compositions are an invitation to creative experimentation through Creative Commons.
waiting for the cover lol
鈮銨鍀鎝人 It’s on my list!!!
@@stephenweigel For me, I think I can't tune my voice to something like 72-ET. If I'm able to I'd be glad to cover it qwq
Please link me when you finish
2:35 wow!
Wow!
I love it!
this is my heaven///Soundwise
The game Fez comes to mind
Amazing
Congratulations on exactly 10000 subscribers
Do this instrument have also after touch?
nice!
brain expanding music
I'd like to see you on the Now and Xen podcast soon. :)
Here's the link: nowandxen.libsyn.com/172-dolores-catherino?fbclid=IwAR0BoRKM8X_yObf2uker_Baex5IBoEq5nEk-gRMoNlOpXh7mU-4D660LDAo
Hermoso
amazing
Mrs. Catherino, have you ever played the Ondes Martenot? What's your opinion on that instrument?
I've never played one but I love the sound. The ContinuuMini controller has 1-2 voice polyphony for this type of pitch-sliding effect: www.hakenaudio.com/continuumini
I am always dazzled by your music and approach to microtonality/polychromaticism.While listening to this though, I was wondering: have you ever done any pieces using a piano voice instead of saw-waves?
Is polyrhythm possible in microtonal/ polychromatic notation (style)? Thank you for your work. Just a curious listener.
This is a fascinating question, Henry! The polyrhythms caused by interacting phase relationships and harmonics in polychromatic music are fundamentally unique in that they have no common metrical pulse (regularly irregular). A second element of polychromatic polyrhythm involves the randomness (in physical performance) of how all the intervals line up in time (or more precisely cycle).
I can’t imagine how these dynamic aspects could be written in a fixed notation system.
This also makes me wonder how metrical rhythms could be synergistically added to this type of music - when the music already contains so much rhythmic motion in itself.
@@dolomuse Thank you for your response.
I do recall how you described the "ghost" sound created by the playing of multiple notes. So in a perfomance, the effect mentioned above, is the result of cycling between desired notes?
Also as mentioned they do not contain a metrical pulse. Polyrhythms use a common "pulse" to expand from (not so sure). Where as in polychromatic the rhythm arises naturally.
Did i understand you correctly ?
@@hankitnap5076 “So in a perfomance, the effect mentioned above, is the result of cycling between desired notes?”
I am referring to wave cycles, as in cycles per second (cps or Hz). Each pitch contains harmonics (integer-multiple overtones) and inharmonics (noninteger-multiple overtones). Each of these component in/harmonic frequencies can be associated with a specific number of cycles per second (Hz). Further, we can add to this, even more frequencies (ghost notes; combinations tones, etc.) created by the phase and harmonic interactions associated with intervals/harmony.
For me, the way these complex interrelationships are heard is, as a composite of varying rhythmic pulsations. Instead of sounding chaotic or random (because there is no common underlying pulse), I hear it as an integrated complexity of sound - where the individual component rhythms are regular, and yet the way these regular rhythms combine creates irregular, dynamically evolving, and somehow understandable rhythmic relationships.
I think that exposure to these complex musical sounds can lead to a gradual familiarity and awareness of new musical qualities. And for me, the discovery of new musical qualities opens new worlds of musical possibility to explore!
I am sorry this explanation sounds so complicated. It is really difficult to try to explain in words, aspects of music that are more easily expressed directly within the experience of listening; within the immediacy of a musical experience. When it comes to describing music, English feels like a foreign language sometimes.
@@dolomuse it does sound very abstract but i appreciate the effort to educate. I will continue to acquire knowledge and experience of the complex musical sounds. I wish you the best and look forward to the future paved by modern innovators like your self.
L. Ron Hubbard attempted stuff like this with POWER OF SOURCE, but he did not have the manual musical skills necessary on his limited equipment in 1974.
Is this written out or is this all improvisation? And are all your videos one way or the other or are some written and others improvised?
My understanding is that these are quite fully composed before performance, but I'm happy to be corrected by someone who knows.
Wow
i love this.
Greetings from Chiguayante
Great way to keep alive in chroma
So, is there a music theory that describes and gives function to micro tonal harmony? Or is micro tonal harmony just an extension of traditional harmony?
Harmony is really a wide and somehow blurry field, and what you call "traditional harmony" isn't really defined. Besides the 12 different notes per octave you know from the piano you can have smaller or larger collections of notes, like African 5- 7- or 10-tone systems for example, or like 24 tones you get by dividing an octave into quarter steps. Then you can have different tunings for each of those collections, like for our 12 notes the twelve-tone equal temperament (being the one mostly used in popular western contemporary music) or twelve-tone just intonation for example. And then there are a gazillion different ways, traditions and common practices how to harmonically use those specified notes.
But on the bottom line, harmony is based on the consonance and dissonance of intervals, defined by the overtone series (also called "harmonic series"), so that might be a good point to start. There's a nice wikipedia article about it (as well as lots of youtube videos).
@@stefan1024 thanks for your reply!
To be specific, when I speak of traditional harmony I'm referring to chords having the 3 basic functions (tonic/ dominant/ sub dominant).
My question is: in micro tonal harmony (as demonstrated in this video) are there more than 3 chord functions?
I'm imagining the subtle nuances of micro tonal shifts in the chords could have some more complex functions not easily described by traditional harmony
@@tdubasdfg Those functions are also just based on the consonance and dissonance of intervals (especially fifths) and on some voice leading techniques (leading tones and such). Functional harmony isn't a solid law though, it's more of a common-practice that works very well in certain contexts. You can build different chords that have different, maybe more subtile functions than tonic/dominant/subdominant, what about sus-chords, or augmented chords for example? Also you can use your common chords in other harmonic ways than basic functional harmony, for example in modal jazz harmony, or by "borrowing" chords from other keys. You really don't have to look far to find examples where a dominant isn't followed by a tonic but a subdominant (in bar 9 and 10 of a 12-bar blues for example). The term "subdominant" is a bit of an umbrella term anyway, like, it's not the base itself (like the tonic) and it doesn't necessarily lead directly to the base (like the dominant), so let's just say it leads to ... somewhere else?
Generally you can compose in functional harmony with microtonal systems, nuances will vary depending what particulary system you use. Having your notes spaced in fifths somehow (or something close enough to fifths) is really helpful here, since that's the base for functional harmony. But it's really not so much about the notes alone but how you decide to use them.
I think that you might find it useful to look into Jacob Collier's ideas of chords and harmony. As perhaps a more robust way to describe chords and harmony, he and other musicians use the terms "brighter and darker". A major chord is brighter than a minor chord, and a Lydian scale is brighter than a major scale, for example. One can then talk about tension and release in a more free manner. Certainly microtonal music seems to provide so many more examples of different shades of bright and dark.
So this is the keyboard you use to get 72 notes per octave . . . .
brain massage
0:18
amazing