This is wild, I haven't heard microtonal music this well-arranged! My ears have no idea what's going on harmonically but the vibrancy and emotive power it wields is so brilliant that it doesn't even matter.
Omg it’s so neat to see the chords written out! In my 22-TET cover there were some differences I incorporated on purpose. I’m surprised you didn’t mention the piano’s F shat in the A7 verse chord! In my mind that’s a deliciously subtle, yet very intentional, microtonal feature. So over Em9 we have F♯, over A7 we have Fǂ, and over DM7 it’s back to F♯, hehe, but in 22-TET that doesn’t work, so I changed it to F♯, F♯v, F♯v (so a downmajor sixth and downmajor third, technically, over the roots). 22-TET could allow a chain of ii-V-I motions mimicking yours but the steps aren’t even between the major-minor shifts. (31edo) Em-A7-D Dǂm-Gǂ-Cǂ C♯m-CH7-BM7 to: (22edo) Em-A7-D D♯m-G♯-C♯ C♯m-CH7-BM7 The reason I didn’t do D^ or D^^ for the second chain is because I thought D moving to C♯ sounded right and wanted to preserve it
Yeah, we could do a whole episode on Freddi's crazy lumatone ideas on this one! Interesting choices in 22! One of my favourite things about microtonality is that you can have the same song in different tuning systems and some things work better in one and vice versa.
This is wild! Putting all these microtonal ideas in practice for an ensemble performance might have been quite a challenge… Thank you so much for documenting your experiments and providing such inspiring content on TH-cam! Looking forward to the album!!
Hey Grégoire! It was pretty wild, you guessed quite right haha, glad you came along for the ride ;) Did you ever do any microtonal theremin stuff? Would love to hear your ideas! :)
@@HearBetweenTheLines Well, you know, with this crazy instrument, even the simplest melodic line carries a microtonal feeling haha I am indeed gravitating around microtonality, it’s a big part of my current artistic questioning. And quite a steep move! Especially with a continuous pitch field: not really an advantage when you want to explore precise interval ratios, etc. It seems easier to improvise / compose with « microfretted » tools first (remapped keyboard, plugin,…). Then, just intonation is quite natural, so I can integrate a microtonal context without too much troubles. It would be lovely to have a microtonal jam together someday! I’m also obsessed with the Haken Continuum Fingerboard, which makes me suffer heavy brainmelting in every single practice session: imagine having perfect polyphonic continuity over 8 octaves! I definitely can’t ignore what happens « between the lines » on these instruments :)
0:56 "7ths in Dominant chord are Harmonic 7th" Disclaimer. 1:24 intro, Using pivot note nudge between two worlds. 31EDO(7,11,13) 3:31 Begin the song, twist the classical 36251-progression 4:06 Maj-Min changes in 1/4 steps(including extensions) 4:43 guitar paying through. End up with a B△, turn it to B7, then loop, Adding TTsub
5:38 Add a line running through the chords 6:22 into B part, B7-E△ ，add some chord to enhance the upcoming EMaj ( A7-Fd9#11-E△)
8:24 favorite String lines（motive），some call&response 9:43 not thinking in functional harmony most of the time, Always have ways to come home 10:04 Please ask more questions, Thanks to everyone who supported
Sie muss nur noch gepresst werden! Das dauert zwar noch ein bisschen - der Release ist im April - aber es kommt nächste Woche schon eine neue Single!! Danke für den Support
@@HearBetweenTheLines ich habe vollstes Verständnis. Mein Kommentar war nicht so mit Druck gemeint. Aber Mikrotonale Musik ist mein Lebenstraum. Ich hatte einen Musiklehrer namens Walter Derschmidt der eines Tages mit einem Alphorn in der Schule auftauchte und das Alphorn-Fa und die Naturseptime spielte und meinte: Es ist anders aber nicht falsch. Dieser Augenblick war: Scheiße es gibt so viel Musik, die es nicht gibt. Colorblind ist ein sehr gutes mikrotonales Werk, das alle kakophonen Kinderkrankheiten derer überwunden hat, die eben nicht gewusst haben, wie man aus mehr als 12 Tönen etwas schönes machen kann. Sie hatten die Vision, ihr habt den Weg bis zum Südpol überlebt. Colorblind ist für mich eine tiefe Befriedigung, es ist Glück die, ein Meisterwerk, und zusätzlich ein Ausblick auf das, was der Menschheit bevorsteht. Die größte Vision seitdem die Septim, der Teufel, in die Pentatonik eingeführt wurde. Ich habe 28 Jahre gewartet, also die paar Wochen schaffe ich auch noch. Danke, danke, dass ihr das gefunden habt, was mehr Menschen gesucht haben, als ihr vielleicht denkt .
Thanks! They all received a 3 versions of a mockup with MIDI strings: 1. only their voice 2. the mix with their voice louder than the rest 3. the mix without their voice And then we had 2 rehearsals and worked on it together :)
Well, you got me up off the couch, and I've decided to turn my standard 4-octave midi keyboard into a 31-TET controller. The only way I have to do this is to assign each key an equal division of the octave. (31 times) I can do this in ABleton Live pretty easily I imagine. Either in an instrument parameter, or maybe even using a midi effect. If you have any suggestions before I begin, I'm all ears. Well, a little brain, too, but mostly ears.
Hahaha, wonderful! That's also how we started :) So one way is to say each new chromatic key on your keyboard is a new SUBchromatic note in 31-TET, so C=C , Dflat=Cshat, D=Csharp and so on. (This is possible with Pianoteq, Keyscape, Kontakt, etc.) Kind of confusing at first until you see some patterns emerge, for example 5 steps in 12-TET --> Fourth 5 steps in 31-TET --> Whole Tone It's nice for voice-leading and to improvisationally come up with progressions, but terrible for writing stuff down because you don't have any visual reference for what note you're actually playing... Otherwise your can also make a subset of 31 and map it to the 12 keys of your keyboard. You have octave equivalence (yay!) but you can't easily modulate.... However! You can use the MIDI Plug-in called "Infinitone DMT" and let the plug-in swap between tunings for you. Hope that helped? :) Cheers!
@@HearBetweenTheLines I really appreciate your response, and I understand. I've been struggling with how to achieve this, however with only ableton Live 9 and a simple 4-octave midi piano. Can you think of any way I can use the native ableton instruments to do this? It sounds like it would be simple to map each controller key to a different pitch, but I don't see how.
What about the chorus, the part where you sing "colorblind"? What is going on there with the chords and vocal harmonies? Is the third 2-5-1 progression essentially this chorus? I tried to work out the verse in 3 limit ji, which is my go to tuning, on paper how the verse might or could go. This is what I came up with: Em9 A7 DM7 Cxm9 Fx7 B#M7 C#m9 F#7 B7 Not sure how this would sound. But I find it strange how the change at the end of the first 2 -5 -1 to the next line is an enharmonic shift up in pitch but down in letter name (from D to Cx). but then from the second to third line is just a diatonic semitone up (from B# to C#), all to get back to the dominant of the Em9.
I think a reharmonization of Desafinado (Newton Mendonça & Tom Jobim) would be a great political statement. The original was also composed in a context were the media was accusing the whole genre of being out of tune music.
Jobim and Mendonça originally wrote the song "regarding the incompetence of most of the Rio evening singers whom they sometimes had to accompany. (...) A samba that defended those who sang off-key, but would make it so complicated and so full of key traps that it would leave the singer in complete distress." -Ruy Castro
This is nothing new for any competent jazz musician who has struggled with a tone/pitch deaf upright bass player...Microtonal notes from hell. You guys sound out of tune...not cool...Has someone been smoking too much pot?...Yes!
This is wild, I haven't heard microtonal music this well-arranged! My ears have no idea what's going on harmonically but the vibrancy and emotive power it wields is so brilliant that it doesn't even matter.
Awesome, that makes us really happy, that's exactly what we hope to achieve :)))
"ever wondered how to use microtones to spice up your jazz harmonies?" Was the most validating sentence I've ever experienced, thank you both
Hahaha, so glad you also think so :))
Finally feeling not alone 🥲
Holy shat, that’s flarping brilliant.
We heart this comment!
Omg it’s so neat to see the chords written out! In my 22-TET cover there were some differences I incorporated on purpose. I’m surprised you didn’t mention the piano’s F shat in the A7 verse chord! In my mind that’s a deliciously subtle, yet very intentional, microtonal feature. So over Em9 we have F♯, over A7 we have Fǂ, and over DM7 it’s back to F♯, hehe, but in 22-TET that doesn’t work, so I changed it to F♯, F♯v, F♯v (so a downmajor sixth and downmajor third, technically, over the roots). 22-TET could allow a chain of ii-V-I motions mimicking yours but the steps aren’t even between the major-minor shifts.
(31edo)
Em-A7-D
Dǂm-Gǂ-Cǂ
C♯m-CH7-BM7
to:
(22edo)
Em-A7-D
D♯m-G♯-C♯
C♯m-CH7-BM7
The reason I didn’t do D^ or D^^ for the second chain is because I thought D moving to C♯ sounded right and wanted to preserve it
Yeah, we could do a whole episode on Freddi's crazy lumatone ideas on this one!
Interesting choices in 22! One of my favourite things about microtonality is that you can have the same song in different tuning systems and some things work better in one and vice versa.
This is wild! Putting all these microtonal ideas in practice for an ensemble performance might have been quite a challenge… Thank you so much for documenting your experiments and providing such inspiring content on TH-cam! Looking forward to the album!!
Hey Grégoire! It was pretty wild, you guessed quite right haha, glad you came along for the ride ;) Did you ever do any microtonal theremin stuff? Would love to hear your ideas! :)
@@HearBetweenTheLines Well, you know, with this crazy instrument, even the simplest melodic line carries a microtonal feeling haha
I am indeed gravitating around microtonality, it’s a big part of my current artistic questioning. And quite a steep move! Especially with a continuous pitch field: not really an advantage when you want to explore precise interval ratios, etc. It seems easier to improvise / compose with « microfretted » tools first (remapped keyboard, plugin,…). Then, just intonation is quite natural, so I can integrate a microtonal context without too much troubles. It would be lovely to have a microtonal jam together someday!
I’m also obsessed with the Haken Continuum Fingerboard, which makes me suffer heavy brainmelting in every single practice session: imagine having perfect polyphonic continuity over 8 octaves! I definitely can’t ignore what happens « between the lines » on these instruments :)
I could listen to these electric guitar chords all day starting at 2:43.
Totally, they were so fun to play :D Glad you like them!
theese chord progressions are so good 🥰
criminally underviewed and overlooked channel.
Glad you think so!
0:56 "7ths in Dominant chord are Harmonic 7th" Disclaimer.
1:24 intro, Using pivot note nudge between two worlds. 31EDO(7,11,13)
3:31 Begin the song, twist the classical 36251-progression
4:06 Maj-Min changes in 1/4 steps(including extensions)
4:43 guitar paying through. End up with a B△, turn it to B7, then loop, Adding TTsub
5:38 Add a line running through the chords
6:22 into B part, B7-E△ ，add some chord to enhance the upcoming EMaj ( A7-Fd9#11-E△)
7:25 Secondary， Backdoor， TTsub， overtone pivot， Maj-Min Tricks
8:24 favorite String lines（motive），some call&response
9:43 not thinking in functional harmony most of the time, Always have ways to come home
10:04 Please ask more questions, Thanks to everyone who supported
Bitte, macht endlich die CD fertig, ich habe schon bestellt und bezahlt, ihr Genies! Ich drehe durch weil ich schon so geil auf die Mukke bin.
Sie muss nur noch gepresst werden! Das dauert zwar noch ein bisschen - der Release ist im April - aber es kommt nächste Woche schon eine neue Single!! Danke für den Support
@@HearBetweenTheLines ich habe vollstes Verständnis. Mein Kommentar war nicht so mit Druck gemeint. Aber Mikrotonale Musik ist mein Lebenstraum. Ich hatte einen Musiklehrer namens Walter Derschmidt der eines Tages mit einem Alphorn in der Schule auftauchte und das Alphorn-Fa und die Naturseptime spielte und meinte: Es ist anders aber nicht falsch. Dieser Augenblick war: Scheiße es gibt so viel Musik, die es nicht gibt.
Colorblind ist ein sehr gutes mikrotonales Werk, das alle kakophonen Kinderkrankheiten derer überwunden hat, die eben nicht gewusst haben, wie man aus mehr als 12 Tönen etwas schönes machen kann. Sie hatten die Vision, ihr habt den Weg bis zum Südpol überlebt.
Colorblind ist für mich eine tiefe Befriedigung, es ist Glück die, ein Meisterwerk, und zusätzlich ein Ausblick auf das, was der Menschheit bevorsteht. Die größte Vision seitdem die Septim, der Teufel, in die Pentatonik eingeführt wurde.
Ich habe 28 Jahre gewartet, also die paar Wochen schaffe ich auch noch. Danke, danke, dass ihr das gefunden habt, was mehr Menschen gesucht haben, als ihr vielleicht denkt .
Thanks for sharing your composition process! Bin gespannt aufs Album
Thanks for taking interest! Wir freuen uns auch soooo doll auf eure Reaktionen :)))
Great stuff! How did you teach the musicians to play in 31ed2?
Thanks!
They all received a 3 versions of a mockup with MIDI strings:
1. only their voice
2. the mix with their voice louder than the rest
3. the mix without their voice
And then we had 2 rehearsals and worked on it together :)
Well, you got me up off the couch, and I've decided to turn my standard 4-octave midi keyboard into a 31-TET controller.
The only way I have to do this is to assign each key an equal division of the octave. (31 times) I can do this in ABleton Live pretty easily I imagine. Either in an instrument parameter, or maybe even using a midi effect.
If you have any suggestions before I begin, I'm all ears.
Well, a little brain, too, but mostly ears.
Hahaha, wonderful! That's also how we started :)
So one way is to say each new chromatic key on your keyboard is a new SUBchromatic note in 31-TET,
so C=C , Dflat=Cshat, D=Csharp and so on. (This is possible with Pianoteq, Keyscape, Kontakt, etc.)
Kind of confusing at first until you see some patterns emerge, for example
5 steps in 12-TET --> Fourth
5 steps in 31-TET --> Whole Tone
It's nice for voice-leading and to improvisationally come up with progressions, but terrible for writing stuff down because you don't have any visual reference for what note you're actually playing...
Otherwise your can also make a subset of 31 and map it to the 12 keys of your keyboard. You have octave equivalence (yay!) but you can't easily modulate.... However! You can use the MIDI Plug-in called "Infinitone DMT" and let the plug-in swap between tunings for you.
Hope that helped? :)
Cheers!
@@HearBetweenTheLines I really appreciate your response, and I understand. I've been struggling with how to achieve this, however with only ableton Live 9 and a simple 4-octave midi piano.
Can you think of any way I can use the native ableton instruments to do this?
It sounds like it would be simple to map each controller key to a different pitch, but I don't see how.
Castaways from Backyardigans already was microtonal bossa nova
If you're talking about the distorted version on Tiktok haha
Was it though? ;)
@@jessenebeker4942 Hahaha, totally
Great job! How it was the experience of working with strings using microtonality?
What about the chorus, the part where you sing "colorblind"? What is going on there with the chords and vocal harmonies? Is the third 2-5-1 progression essentially this chorus?
I tried to work out the verse in 3 limit ji, which is my go to tuning, on paper how the verse might or could go. This is what I came up with:
Em9 A7 DM7
Cxm9 Fx7 B#M7
C#m9 F#7 B7
Not sure how this would sound. But I find it strange how the change at the end of the first 2 -5 -1 to the next line is an enharmonic shift up in pitch but down in letter name (from D to Cx). but then from the second to third line is just a diatonic semitone up (from B# to C#), all to get back to the dominant of the Em9.
Triangle chords ftw. E△7
thats just major seventh
What, this just ends??
I think a reharmonization of Desafinado (Newton Mendonça & Tom Jobim) would be a great political statement. The original was also composed in a context were the media was accusing the whole genre of being out of tune music.
Challenge accepted.
Jobim and Mendonça originally wrote the song "regarding the incompetence of most of the Rio evening singers whom they sometimes had to accompany. (...) A samba that defended those who sang off-key, but would make it so complicated and so full of key traps that it would leave the singer in complete distress." -Ruy Castro
I don't hear music in color. Instead I think of flavor.
to-may-to - to-mah-to :)
This is nothing new for any competent jazz musician who has struggled with a tone/pitch deaf upright bass player...Microtonal notes from hell. You guys sound out of tune...not cool...Has someone been smoking too much pot?...Yes!