This piece is especially accessible because it features 12 tones, not too unequally spaced, and hence there's a familiarity to the melodic material via reference to 12EDO. But the harmonies.... it's as if the scale is "out of tune" in a way that renders it more in-tune (sounding). There is no note that sounds "wrong," no chord that sounds harsh or awkward to the (12EDO-acclimated) ear. It's just tasty, tasteful, beautiful, appealing and more tasty.
This is one of the most beautiful songs I've ever heard. I'm not even kidding. It has emotions that I've never heard portrayed in normal tuning before this is amazing.
Coming back to this after a few months ago and it feels even fresher. After understanding your approach a bit more, this speaks more directly to me. Beautiful visuals too. All very mesmerising. I love that slight toy piano vibe with the attack of many of the higher range notes. Great textures. I might just listen to this next time I have trouble sleeping.
This has something... timeless to it. Both in the sense of it seemingly having a forever-lasting effect, and it sounding like it comes from a place before time, or perhaps from a time before space. Primordial indeed... Thank you for inspiring my dreams.
Just now finding this music, ive known about microtonaloty for a while and normally stuck to 12 tet jazz but your music is wonderful and I wish i wouldve found it sooner, this is by far my favorite piece of yours yet, just wish such a beautiful piece was on spotify so i could put it in all my playlists, but thank you for blessing my ears
Ahh I’m obsessed with this I love it! I need like 5 hours of this so I can do a psychedelic introspective trip on the amazingness of just intonation and the harmonic series. I don’t quite understand the finer details of how you derive the tuning or how to use it but I can tell you I’m defiantly going to learn, I can’t stop thinking about it.
these are some lovely meditative vibes. I'm picturing sitting alone by a fireplace during a night-time storm, contemplating minor details after a long day.
You've captured harmonics like I hear naturally built in to a hangpan or steel drum, or LOL, why my mother's piano sometimes sounded way better and relaxing when it was just a little out of tune. Classical Chinese music has a greater appreciation of all those little tonal differences. I do some alternate tunings on guitar but that's about my range. Thanks for sharing your creation and I expect we'll hear some more compositions in just.
Thank you! I love this comment so much. I agree the harmonic tuning really makes each note almost take on the timbre of an instrument such a hangpan. It really gives all the chords and tones such a beautiful glow. That's why I enjoy the approach of high prime's used as 1:2:3:4 spacings. It allows me to explore several idiosyncratic and self contained glows, each their own unique harmony beauty! /19 has the glow you are referencing. I will absolutely be releasing more in Just!
I've been going back through a bunch of music in JI (much of it yours) and relistening with the ears that I have now as I learn more about JI. Gotta say, I already loved all of it the first time, but this one is just incredibly beautiful. Spellbinding.
Transcendent!! You are blazing the trail for generations of musicians to come. So wonderful to hear these new portals of sonic wonderment beginning to open up!
If it weren't Bach or Mozart, it'd be you. I hope you know this piece is pulling many heart strings - seriously beautiful work. I've been going through a really tough time lately, and this just speaks to me so deeply. Never stop ❤
Every time I think I have finally got the bigger picture of Concordance maps in general, I get confronted with yet another system or perhaps a "Vertical Structure" or "Motherchord" as you call it (I could be wrong about both of those, your music is by far the most awesome thing to appreciate making myself seem stupid, that's a compliment) which continue(s) to blow my mind and make me keep rethinking the traditional JI compared to this "Primodality". Goodness gracious dear you a FRIGGIN GENIUS. Awesome. I think Novemdecimal is likely going to be the easiest for me to grasp (which I understand only 15% of, maybe) compared to septidecimal and even undecimal because I have heard enough of your work in Novemdecimal to say it makes me feel good and it resonates with me no matter how complicated it is. Right now, it's my favorite. Again, FRIGGIN GENIUS.
I think this is my favorite improv of yours, it just... puts you in a contemplative trance. I can only imagine how you felt while playing this, I would be absolutely thrilled about coming up with something like this. Awesome work!
While everyone else was busy being mindblown over the tuning and everything, I sampled this to make some LoFi Hiphop. :D Interested in hearing it once it's done?
This is where I need to be, to plonk this theory:- 72:80:81:90:96:108:120:128:135:144 - this octave of frequency ratios is my subject ! 72:80:81:90:96:108:120:128:135:144 72:80:81:90 = mutation / choice of 80 or 81 between 72-90 (8:10=4:5) 80:81 = comma (switch between minor/major) 72:80 = minor tone (9:10) in just modulation (key change) 72:81 = major tone (8:9) this mutation step (comma) 80:90 = major tone (8:9) is often overlooked ! 81:90 = minor tone (9:10) 72:80:90 = minor/major 72:81:90 = major/minor 72:80:81:90:96:108:120:128:135:144 120:128:135:144 ^this is the semitonal change involving 15:16, 128:135, 15:16 which should be familiar to mathematically-minded musicians ! This is quite difficult stuff to understand & perhaps more difficult to explain.... ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ I feel that there's a lot more to make clear & a lot of misunderstanding about intonation. Has anybody got a reaction to the above ?
my thoughts to the scale above: it's a fine scale but I wouldn't use it. I intentionally avoid many of the intervals you used because I am more interested in less common intervals because I like how they sound and they expand my ear. This is why I developed a primodal approach. The scale you posted feels a bit too aligned with what is conventionally desired from a just intonated scale. I desire new sounds, not sounds I am deeply familiar with. The scale you posted is easily understandable. It's a highly composite scale which allows for mixing denominator bases to extract several low complexity intervals next to each other. That is not my goal with just intonation. Cool though! :) I am not a mathematically minded musician. I am a sound-minded musician. I focus on sound above all else. :)
@@ZheannaErose - That is such a good reply ! "72:80:81:90:96:108:120:128:135:144 - this octave of frequency ratios is my subject !" In fact "72:81:90:96:108:120:135:144" was really the subject ! 72:81:90:96:108:120:135:144 expands to: 9/8 x 10/9 x 16/15 x 9/8 x 10/9 x 9/8 x 16/15 = 2/1 which is a standard way of representing the just version of diatonic music and I tweeked it a little to suggest the 2 aspects of mutation+modulation which are necessary. MUTATION is my term for wobbling the major/minor tones about 80:81. And MODULATION is the flatting or sharping..... see my 120-144 zone excuse me I'm getting tired & my computer time at the local library is running out ! be aware I'm not a proponent of only 2,3,5 intervals (53et/edo deals with an approx of that) the further primes are one way to go 7,11,13,17,19,23,29 etc 7,17,19 are already fairly familiar in regular usage.... a threat of more to come !
Wow, what a piece, sounds very warm but it's still busy, in a good way, and the timbre is fantastic, so beautiful! Have you thought about retuning a real piano and recording some pieces of yours?
Yes! I would love to. Unfortunately I don't have the space or freedom to do that but eventually once I move and buy a grand piano I will be retuning it quite a lot!
You have divided your octave 38:76 (76/38) into 12 intervals (13 steps) 38:40:43:46:48:51:54:57:61:64:68:72:76 which is easier to comprehend (I hope) ! The pairs of frequencies either side of each of the : (colons) represent your 12 freq.ratio steps. The logarithms of frequencies are what we hear as musical intervals. The 12 freq.gaps are 2, 3, 3, 2, 3, 3, 3, 4, 3, 4, 4, 4 (they add up to 38 as they should). This is your choice (& could be other), but your cents may indicate why you chose those gaps. It's matter of opinion but I prefer my 2nd line above (13 steps, 38:40:43:46:48:51:54:57:61:64:68:72:76) to your middle column of ratios. But Harry Partch tended to support your ratios.
Hi there. :) I'm currently overwhelmed with new student inquiries. We are going through a large list and taking on students as we have availability. I find my assistant will often prioritize E-mails that indicate the student is genuinely seeking a learning experience. It may be worth a follow-up E-mail if you feel serious about lessons.
After my comment 2 hours ago. I come back to visit this video again, & spot 38:40:43:46:48:51:54:57:61:64:68:72:76 on your opening sequence @0:10. I'm very pleased by that. Your opening note has the same sequence of 13 frequencies, thus 13 pitches/notes. 38 & 76 are both tonics of your mode. 64 is the "same" note as any other power of 2, so the root is 1 of all these whole-number frequencies: 38:40:43:46:48:51:54:57:61:64:68:72:76. Your scale is a subset of the overtones of the frequency 1. This scale can be regarded as a chord (arguably consonant) (Otonality). Consult Harry Partch (no longer with us) for undertones & minor/reciprical harmony (Utonality).
This is a very satisfactory musical result, despite possibly being derived from (in some sense) a single chord. It is a little bland. Thought is needed to spice music up with vital new dissonances set against plum consonances. Frankly I'm fed up with hearing stretched octaves on the traditional piano.
Thanks for the comments. You can see my lecture on my primodality approach. It's not connected to Partch. Its a different perspective on just intonation all together. Utonality is primarily rejected in my core method. Yes indeed. Everything I make is from discrete prime base harmonic series motherchords.
![Zhea Erose - Eurybia [just intonation]](http://i.ytimg.com/vi/ubPwKxcp87g/mqdefault.jpg)
![Zhea Erose - Eurybia [just intonation]](/img/tr.png)
![Zhea Erose - Timelessness [just intonation]](http://i.ytimg.com/vi/PIhFupdwv3M/mqdefault.jpg)
![zhea erose - SOLA [31edo]](/img/n.gif)
This piece is especially accessible because it features 12 tones, not too unequally spaced, and hence there's a familiarity to the melodic material via reference to 12EDO. But the harmonies.... it's as if the scale is "out of tune" in a way that renders it more in-tune (sounding). There is no note that sounds "wrong," no chord that sounds harsh or awkward to the (12EDO-acclimated) ear. It's just tasty, tasteful, beautiful, appealing and more tasty.
So true
This is one of the most beautiful songs I've ever heard. I'm not even kidding. It has emotions that I've never heard portrayed in normal tuning before this is amazing.
How did I not hear this one yet?! Wonderful work.
I really love the way you explore microtonality, and the results! This adds another layer of meaning and depth. I'm marvelled!
That intro... the whole song... good grief this was moving.
Shape and color dance to a melodic classical sound absolutely beautifully done
Coming back to this after a few months ago and it feels even fresher. After understanding your approach a bit more, this speaks more directly to me. Beautiful visuals too. All very mesmerising. I love that slight toy piano vibe with the attack of many of the higher range notes. Great textures. I might just listen to this next time I have trouble sleeping.
This has something... timeless to it. Both in the sense of it seemingly having a forever-lasting effect, and it sounding like it comes from a place before time, or perhaps from a time before space. Primordial indeed...
Thank you for inspiring my dreams.
Just now finding this music, ive known about microtonaloty for a while and normally stuck to 12 tet jazz but your music is wonderful and I wish i wouldve found it sooner, this is by far my favorite piece of yours yet, just wish such a beautiful piece was on spotify so i could put it in all my playlists, but thank you for blessing my ears
This is absolutely beautiful, a whole other warm world
dumbfounded by how beautiful this sounds
Ahh I’m obsessed with this I love it! I need like 5 hours of this so I can do a psychedelic introspective trip on the amazingness of just intonation and the harmonic series. I don’t quite understand the finer details of how you derive the tuning or how to use it but I can tell you I’m defiantly going to learn, I can’t stop thinking about it.
Ohh wooow...
This is really beautiful.
Both the song and the tuning system. Thank you!
these are some lovely meditative vibes.
I'm picturing sitting alone by a fireplace during a night-time storm, contemplating minor details after a long day.
You've captured harmonics like I hear naturally built in to a hangpan or steel drum, or LOL, why my mother's piano sometimes sounded way better and relaxing when it was just a little out of tune. Classical Chinese music has a greater appreciation of all those little tonal differences. I do some alternate tunings on guitar but that's about my range. Thanks for sharing your creation and I expect we'll hear some more compositions in just.
Thank you! I love this comment so much. I agree the harmonic tuning really makes each note almost take on the timbre of an instrument such a hangpan. It really gives all the chords and tones such a beautiful glow. That's why I enjoy the approach of high prime's used as 1:2:3:4 spacings. It allows me to explore several idiosyncratic and self contained glows, each their own unique harmony beauty! /19 has the glow you are referencing. I will absolutely be releasing more in Just!
I've been going back through a bunch of music in JI (much of it yours) and relistening with the ears that I have now as I learn more about JI.
Gotta say, I already loved all of it the first time, but this one is just incredibly beautiful. Spellbinding.
So beautiful!
Thanks for commenting
you could make hell feel just like home
Stunning
Transcendent!! You are blazing the trail for generations of musicians to come. So wonderful to hear these new portals of sonic wonderment beginning to open up!
Thank you for listening. I'm thankful it touched you.
All with only 12 notes!?
Really?!
So beautiful!
So many hair-raising moments / harmonic shifts! Also, thank you for including the tuning ratios, eager to give this tuning a try.
If it weren't Bach or Mozart, it'd be you. I hope you know this piece is pulling many heart strings - seriously beautiful work. I've been going through a really tough time lately, and this just speaks to me so deeply. Never stop ❤
Contemplative! Thank you, love the sound.
Oh now it’s like a mountain river
My soft heart
Every time I think I have finally got the bigger picture of Concordance maps in general, I get confronted with yet another system or perhaps a "Vertical Structure" or "Motherchord" as you call it (I could be wrong about both of those, your music is by far the most awesome thing to appreciate making myself seem stupid, that's a compliment) which continue(s) to blow my mind and make me keep rethinking the traditional JI compared to this "Primodality". Goodness gracious dear you a FRIGGIN GENIUS. Awesome.
I think Novemdecimal is likely going to be the easiest for me to grasp (which I understand only 15% of, maybe) compared to septidecimal and even undecimal because I have heard enough of your work in Novemdecimal to say it makes me feel good and it resonates with me no matter how complicated it is. Right now, it's my favorite. Again, FRIGGIN GENIUS.
I think this is my favorite improv of yours, it just... puts you in a contemplative trance. I can only imagine how you felt while playing this, I would be absolutely thrilled about coming up with something like this. Awesome work!
So harmonic and comfortable!
Thank you!!
Subscribed..
Please do more of this and.. would be amazing if you could share some insights in your workflow!
Again Para socially this is an artist with magnificent Talent will make you cry with appreciation what she brings to the artistic endeavor
I have yet to see the artist who brings more Talent to the Forefront
This is absolutely beautiful :o
That is so pretty! I might use that tuning in a piece of mine if you don't mind. I'd credit you of course.
This sounds amazing
Thanks so much!
Improvisation in wonderful as the listener follows the composer. ...thinks, hopes, tries, advances, falls back, meandering threw nature.
speechless :o
While everyone else was busy being mindblown over the tuning and everything, I sampled this to make some LoFi Hiphop. :D Interested in hearing it once it's done?
most definitely!!!!!
This is where I need to be, to plonk this theory:-
72:80:81:90:96:108:120:128:135:144
- this octave of frequency ratios is my subject !
72:80:81:90:96:108:120:128:135:144
72:80:81:90 = mutation / choice of 80 or 81 between 72-90 (8:10=4:5)
80:81 = comma (switch between minor/major)
72:80 = minor tone (9:10) in just modulation (key change)
72:81 = major tone (8:9) this mutation step (comma)
80:90 = major tone (8:9) is often overlooked !
81:90 = minor tone (9:10)
72:80:90 = minor/major
72:81:90 = major/minor
72:80:81:90:96:108:120:128:135:144
120:128:135:144
^this is the semitonal change involving 15:16, 128:135, 15:16
which should be familiar to mathematically-minded musicians !
This is quite difficult stuff to understand & perhaps more difficult to explain....
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
I feel that there's a lot more to make clear & a lot of misunderstanding about intonation.
Has anybody got a reaction to the above ?
my thoughts to the scale above: it's a fine scale but I wouldn't use it. I intentionally avoid many of the intervals you used because I am more interested in less common intervals because I like how they sound and they expand my ear. This is why I developed a primodal approach. The scale you posted feels a bit too aligned with what is conventionally desired from a just intonated scale. I desire new sounds, not sounds I am deeply familiar with. The scale you posted is easily understandable. It's a highly composite scale which allows for mixing denominator bases to extract several low complexity intervals next to each other. That is not my goal with just intonation. Cool though! :)
I am not a mathematically minded musician. I am a sound-minded musician. I focus on sound above all else. :)
@@ZheannaErose - That is such a good reply !
"72:80:81:90:96:108:120:128:135:144 - this octave of frequency ratios is my subject !"
In fact "72:81:90:96:108:120:135:144" was really the subject !
72:81:90:96:108:120:135:144 expands to:
9/8 x 10/9 x 16/15 x 9/8 x 10/9 x 9/8 x 16/15 = 2/1
which is a standard way of representing the just version of diatonic music
and I tweeked it a little to suggest the 2 aspects of mutation+modulation
which are necessary. MUTATION is my term for wobbling the major/minor
tones about 80:81. And MODULATION is the flatting or sharping.....
see my 120-144 zone
excuse me I'm getting tired
& my computer time at the local library is running out !
be aware I'm not a proponent of only 2,3,5 intervals (53et/edo deals with an approx of that)
the further primes are one way to go 7,11,13,17,19,23,29 etc
7,17,19 are already fairly familiar in regular usage....
a threat of more to come !
Would there be any way to download or buy this? It's incredible!
I can't express myself with 12 TET anymore. I feel like I'm speaking baby talk and the adults are speaking your song.
Wow, what a piece, sounds very warm but it's still busy, in a good way, and the timbre is fantastic, so beautiful!
Have you thought about retuning a real piano and recording some pieces of yours?
Yes! I would love to. Unfortunately I don't have the space or freedom to do that but eventually once I move and buy a grand piano I will be retuning it quite a lot!
Holy fuck
What note did you have as the root note (aka note did you tune from or was the closest to tuning from)?
Either that or a frequency tuned from would be helpful 😅
You have divided your octave 38:76 (76/38) into 12 intervals (13 steps)
38:40:43:46:48:51:54:57:61:64:68:72:76 which is easier to comprehend (I hope) !
The pairs of frequencies either side of each of the : (colons) represent your 12 freq.ratio steps.
The logarithms of frequencies are what we hear as musical intervals.
The 12 freq.gaps are 2, 3, 3, 2, 3, 3, 3, 4, 3, 4, 4, 4 (they add up to 38 as they should).
This is your choice (& could be other), but your cents may indicate why you chose those gaps.
It's matter of opinion but I prefer my 2nd line above (13 steps, 38:40:43:46:48:51:54:57:61:64:68:72:76)
to your middle column of ratios. But Harry Partch tended to support your ratios.
You know you're brilliant, right?
Hey I’ve been trying to contact you by email, I’m interested in voice lessons
Hi there. :) I'm currently overwhelmed with new student inquiries. We are going through a large list and taking on students as we have availability. I find my assistant will often prioritize E-mails that indicate the student is genuinely seeking a learning experience. It may be worth a follow-up E-mail if you feel serious about lessons.
Zheanna Erose Great I’ll send another email then, thank you very much
After my comment 2 hours ago. I come back to visit this video again, & spot 38:40:43:46:48:51:54:57:61:64:68:72:76
on your opening sequence @0:10. I'm very pleased by that. Your opening note has the same sequence of 13 frequencies, thus
13 pitches/notes. 38 & 76 are both tonics of your mode. 64 is the "same" note as any other power of 2, so the root is 1
of all these whole-number frequencies: 38:40:43:46:48:51:54:57:61:64:68:72:76. Your scale is a subset of the overtones
of the frequency 1. This scale can be regarded as a chord (arguably consonant) (Otonality).
Consult Harry Partch (no longer with us) for undertones & minor/reciprical harmony (Utonality).
This is a very satisfactory musical result, despite possibly being derived from (in some sense) a single chord. It is a little bland.
Thought is needed to spice music up with vital new dissonances set against plum consonances.
Frankly I'm fed up with hearing stretched octaves on the traditional piano.
Thanks for the comments. You can see my lecture on my primodality approach. It's not connected to Partch. Its a different perspective on just intonation all together. Utonality is primarily rejected in my core method. Yes indeed. Everything I make is from discrete prime base harmonic series motherchords.