Another fascinating effect is, that this kind of modern music does not hurt my ears. I simply like it's fascinating rich sound from the beginning to the end. And it is far more complex than minimalism, the other kind of modern music I like. Thanks for sharing!
For some reason, in the last few days I’ve picked up a strong fascination for microtonal music, and utilizing those in between sounds in a new way. Seeing this having just been uploaded just assured me further that I must jump into this new territory(new for me anyways) as soon as possible. And the composition is stunning of course!
I listened to your music last night and again tonight , I was drawn to it and now my mind is thanking me for something it has always understood.Thank you
I listened to this 4 times in a row...for now. Said sounds are like nothing I’ve ever heard before. I was deep in my mind without deep thinking .... very extraordinary musiak. Thank you for creating this masterpiece.
I'd love to hear this type of ethereal playing in so many contexts. It could further extend the harmonic palette of the style Allan Holdsworth created , who used a lot of contemporary classical harmony with rich synth sounds, combined with bass, drums and his horn-like guitar sound. A player with an ear accustomed to the system you are using would be able to bend up or down slightly on certain melodic notes to really lock in to the particular chord underneath. I can't imaging how satisfying that would sound in an ensemble context.
Feeling the most beautiful "thing" with this one. I have the urge, the need, to remix this. Add rhythm, cool stuff, keep the essence of the original. I just feel this needs to be more reachable to people by putting a nice rhythm, cool sounds, and this beautiful and memorable pad and all the words it produce via notes. This inspires me so much, I wish I could get into Microtonal music!
Oh shit, I have the permission. I´m doing some collaborations now and for someone who is literally just starting in recording I can´t do that for now, but believe me I´ll do a really cool remix. Probably something Jazzy yet Popsy. We´ll see. Blessings, Dolores! You are quite and inspiration to me
@@umrasangus I've thought exactly the same thing ! I guess I'll give it a go. On a sidenote, you should check out " The Yardwork Simulator " by Max Graef. There's a high chance you'd dig it.
I would be fascinated to hear a piece using more than one sound, using your instruments. A multi-tracked polychromatic piece, perhaps with a cantabile lead on that one slide-keyboard you've shown, could be a logical next step for your music. As it is, hearing these subtle harmonies on such warm pads already makes me melt.
I am still unsure how and why microtonal music does these things to my brain. I feel almost inebriated, extited and active, but also meditative at the same time. I don't know what it is in the tonal qualities of microtonal chords that produce these results for me, but I'm loving it.
I can never get over how fresh and new your pieces sound, each and every one really is the most awe inspiring music i've ever heard!! Also, on average, how long does it take to compose one of your pieces? I'd imagine that it takes quite a while, since there are just so many chords and strange colors to choose from
It is hard to say exactly because everything overlaps - I work on composing, then I have to practice a while to get the technique well enough for consistent performance. Roughly, speaking about 4-6 months from start to video and polychromatic notated score. Because I don't use this software frequently, I have to hack around using Cubase, Final Cut, Finale, and Illustrator... the process is still clunky. :)
For best effect, stand in middle of dark room on a folded blanket with high quality headphones and your eyes closed. It sounds like a weird setup but trust me it's crazy.
Your music reminds me of my time in Copenhagen's boys choir where we would be waiting on the stage and listen to the orchestra tuning their instruments
Amazing! I love your music. By the way, could you recommend me composition books that talk about "using microtonality that sounds tonal"? I don't know if I have expressed myself correctly xd. I mean something similar to the musical language you use; it reminds me of classical/jazz harmony while obviously noticing there are more notes in between, thus sounding much more "fresh" to me. Thank you!
Experimentation is your best friend! Also: I like using physics as a guide. Music from around the world (including western classical music before equal temperament) uses tunings based on just intonation. This often involves tuning to the harmonic series (the notes that show up when you play harmonics on a string/ play a brass instrument/ etc). For me, understanding how to tune properly to the harmonic series is a huge help in expanding my palate. That said, she's doing way more stuff. It sounds to me like she'll establish a key center in one microtone, then subtly shift it up or down a few microtones to give you a new sensation not available on the traditional keyboard. One scary thing about writing with this many notes available is that you can easily get choice overload (hell, I get it simply with 12 tone systems)
Great question! I was a music major in college but never formally studied composition. It has always been more a process of exploration and improvisation with whatever musical instruments I could get my hands on. That said, I would be happy to discuss questions or maybe start integrating topics for an online article or eventual ebook. My composing perspective is more empirical (practice based) than theoretical (analysis based), so I hope to collaborate with music theorists at some point to share and integrate ideas and insights on the process/practice of polychromatic music.
I'm wondering what advice would you give to someone like me, who wants to pursue the whole EDO idea but didn't have the means, i.e. fancy keyboards. All I have is a usual 12ET keyboard and various common fretted instruments. Where do I start?
Also: in case of unfretted ones: how do you even start to get around all those higher number EDOs? It's not like your ears can tell you where to put your fingertips, since you've been only listening to traditional western music all your life.
I use the Custom Scale Editor (CSE) software by H-pi for easy micro-pitch mapping onto standard or prototype keyboards. The Xenharmonic Alliance facebook group is a great online community for learning and specific questions about microtonal music.
I use fixed pitch keyboards as a means of increasing micro-pitch discrimination. However, in my recent collaboration with a chromatically-trained singer, we have found that micro-pitch matching seems to be intuitive even in the absence of formal micro-pitch discrimination training. I am amazed by this and it makes me reflect on some remarkable implications: that the basis of chromatic training might be easily 'upscaled' in playing/singing. And the practice of this innate micro-pitch matching can provide a foundation for the further assimilation of high pitch-resolution, equal division of the octave (EDO) or other scale division methods into polychromatic (conceptual) systems, creating a framework for further development.
I think final fantasy 13-2 was inspired by this possibilitys . (2013 - they have a quiet diffrent music taste but sometimes used a piano (a locked one) ;o )
The midi controller is capable of rendering any programmed pitchmap, so it is not locked in. I look at the chromatic scale basis of this tuning as a ‘bridge’ for musicians trained in chromatic theory and notation. This way, the focus can be on learning to hear, play and compose with very high pitch-resolutions like 72 and 106 edo without having divert practice/creative time toward learning a new notation and theory system. Its a ‘bridge’ in the sense that it is an intuitive first step from our conventional musical (chromatic) language toward both extended-chromatic (12 note based) and non-chromatic pitch scales of the future.
I have a question: is there such a thing as hitting a wrong note in microtonal music? Not trying to be a smart ass or something, but it seems like that's an issue that's very common to Western music that I don't know if it exists in this kind of composition.
Great and deep question! It reminds me of the saying that there are "no wrong notes in jazz". Over many years, I have come to understand this statement as being related to an individual's appreciation of the many possible levels harmonic complexity. And yet, that statement also seems to minimize and homogenize all note choices as equally emotive, beautiful, expressive within a coherent musical composition. I think this may be what distinguishes how we perceive the intention or flow of musical expression in a composition vs a feeling of random (unintentional) note combinations. On the other hand, what in the past was heard as dissonant and random because of its radical complexity, became understood and appreciated over time and with exposure to these new ideas. So, with microtonality and polychromatic music being a new frontier in aesthetic sound and music composition, expectations from the past (chromatic system) will be used as a basis of judgement ('wrong' or out-of-tune notes), until a new musical framework develops over time, with increasing exposure to this new type of music.
You're my proudest internet find that I can brag about to my jazz teacher. Outstanding as always.
Listening to this music feels like entering a completely alien world, and yet it feels familiar, like you've known about it all along
Christopher Bell oh god it's so spot on!
You might say it has an antinomy of familiarity :)
dolores: you have helped me open my ears to colors I never expected. Thank you!
Another fascinating effect is, that this kind of modern music does not hurt my ears. I simply like it's fascinating rich sound from the beginning to the end. And it is far more complex than minimalism, the other kind of modern music I like. Thanks for sharing!
For some reason, in the last few days I’ve picked up a strong fascination for microtonal music, and utilizing those in between sounds in a new way. Seeing this having just been uploaded just assured me further that I must jump into this new territory(new for me anyways) as soon as possible. And the composition is stunning of course!
same same :D :D
I listened to your music last night and again tonight , I was drawn to it and now my mind is thanking me for something it has always understood.Thank you
OMG SHE'S BACK!! I'M SO EXCITED!
Thank you so much Dolores, your music is an experience
I'm really glad that you're using 72EDO, it is my favorite tuning system for sure. It has so much beautiful potential!!!
I listened to this 4 times in a row...for now. Said sounds are like nothing I’ve ever heard before. I was deep in my mind without deep thinking .... very extraordinary musiak. Thank you for creating this masterpiece.
the last quarter is truly from another planet, thank you dolomuse, these sounds will be heard until the end of time.
I'd love to hear this type of ethereal playing in so many contexts. It could further extend the harmonic palette of the style Allan Holdsworth created , who used a lot of contemporary classical harmony with rich synth sounds, combined with bass, drums and his horn-like guitar sound. A player with an ear accustomed to the system you are using would be able to bend up or down slightly on certain melodic notes to really lock in to the particular chord underneath. I can't imaging how satisfying that would sound in an ensemble context.
I can watch this so many times and find something new to appreciate about it.
Beautiful!
Hello Dolores, its a beautifull music. Thank you.
0:38 Well played! Quite a melancholic chord progression, and a cool thing to do with polychromatism.
After listening to most of your songs I feel my ear for sounds have changed. I will now enjoy being stuck in traffic. Thank you.
Wow! Added to my favorites. Expect a lot of the view count to come from me. Thank you for the new song! Have a great day.
Feeling the most beautiful "thing" with this one. I have the urge, the need, to remix this. Add rhythm, cool stuff, keep the essence of the original. I just feel this needs to be more reachable to people by putting a nice rhythm, cool sounds, and this beautiful and memorable pad and all the words it produce via notes. This inspires me so much, I wish I could get into Microtonal music!
All my compositions are creative commons so feel free to remix them. I would love to hear what you create!
Oh shit, I have the permission. I´m doing some collaborations now and for someone who is literally just starting in recording I can´t do that for now, but believe me I´ll do a really cool remix. Probably something Jazzy yet Popsy. We´ll see. Blessings, Dolores! You are quite and inspiration to me
@@umrasangus I've thought exactly the same thing ! I guess I'll give it a go.
On a sidenote, you should check out " The Yardwork Simulator " by Max Graef. There's a high chance you'd dig it.
Thank you for sharing a new piece. It's very beautiful and immersing in the way only you can make it - a true auditory space in several dimensions.
I would be fascinated to hear a piece using more than one sound, using your instruments. A multi-tracked polychromatic piece, perhaps with a cantabile lead on that one slide-keyboard you've shown, could be a logical next step for your music. As it is, hearing these subtle harmonies on such warm pads already makes me melt.
I love this music with images of space!
Wow, the chords changes are amazing! Great job as always!
A wonderful experience to listen to
I am still unsure how and why microtonal music does these things to my brain. I feel almost inebriated, extited and active, but also meditative at the same time. I don't know what it is in the tonal qualities of microtonal chords that produce these results for me, but I'm loving it.
I can never get over how fresh and new your pieces sound, each and every one really is the most awe inspiring music i've ever heard!!
Also, on average, how long does it take to compose one of your pieces? I'd imagine that it takes quite a while, since there are just so many chords and strange colors to choose from
It is hard to say exactly because everything overlaps - I work on composing, then I have to practice a while to get the technique well enough for consistent performance. Roughly, speaking about 4-6 months from start to video and polychromatic notated score. Because I don't use this software frequently, I have to hack around using Cubase, Final Cut, Finale, and Illustrator... the process is still clunky. :)
Lot of rhythms happening in both left and right stereo channels from 11:37-11:52.
For best effect, stand in middle of dark room on a folded blanket with high quality headphones and your eyes closed. It sounds like a weird setup but trust me it's crazy.
This is definitely my favorite since toward the continuum.
This has some of your best moments yet, Dolores
this is becoming one of my favs
love the low notes here. The falling notes at 10:12 I particularly adore.
What a spectacle. I love how other worldly and different it sounds
So fantastic
I love you so much for the time you have invested into this.
Thank you for this lovely music!!
This is amazing
you just made my day, Dolo
I am really enjoying your work.
Amazing. Love the way you make the instrument sound with coherence. Sorry for the bad English
Appreciate how long the tune is. Can really get submerged in the mood.
you're getting better. keep it up!
Masterpiece!
I think one of the main stream artists actually dabbling into microtonal music was Prince.
absolutely beautiful
Your music reminds me of my time in Copenhagen's boys choir where we would be waiting on the stage and listen to the orchestra tuning their instruments
Love the work. Wonder how much the instruments sell for. Don't be afraid to let the chords sit and do their dance--- it's entrancing and beautiful :)
Transcendent. Thank you
beautiful
This is fantastic
Amazing! I love your music.
By the way, could you recommend me composition books that talk about "using microtonality that sounds tonal"? I don't know if I have expressed myself correctly xd. I mean something similar to the musical language you use; it reminds me of classical/jazz harmony while obviously noticing there are more notes in between, thus sounding much more "fresh" to me. Thank you!
Experimentation is your best friend! Also: I like using physics as a guide. Music from around the world (including western classical music before equal temperament) uses tunings based on just intonation. This often involves tuning to the harmonic series (the notes that show up when you play harmonics on a string/ play a brass instrument/ etc). For me, understanding how to tune properly to the harmonic series is a huge help in expanding my palate.
That said, she's doing way more stuff. It sounds to me like she'll establish a key center in one microtone, then subtly shift it up or down a few microtones to give you a new sensation not available on the traditional keyboard. One scary thing about writing with this many notes available is that you can easily get choice overload (hell, I get it simply with 12 tone systems)
Great question! I was a music major in college but never formally studied composition. It has always been more a process of exploration and improvisation with whatever musical instruments I could get my hands on.
That said, I would be happy to discuss questions or maybe start integrating topics for an online article or eventual ebook. My composing perspective is more empirical (practice based) than theoretical (analysis based), so I hope to collaborate with music theorists at some point to share and integrate ideas and insights on the process/practice of polychromatic music.
1:15 Cool, listen to that resonance.
True art
my favorite right now
Thank you for the music
Amazing
What is this keyboard called and where can I get it?
♥️♥️♥️👍👍👍
Again, just gorgeous.
I'm wondering what advice would you give to someone like me, who wants to pursue the whole EDO idea but didn't have the means, i.e. fancy keyboards. All I have is a usual 12ET keyboard and various common fretted instruments. Where do I start?
Also: in case of unfretted ones: how do you even start to get around all those higher number EDOs? It's not like your ears can tell you where to put your fingertips, since you've been only listening to traditional western music all your life.
I use the Custom Scale Editor (CSE) software by H-pi for easy micro-pitch mapping onto standard or prototype keyboards. The Xenharmonic Alliance facebook group is a great online community for learning and specific questions about microtonal music.
I use fixed pitch keyboards as a means of increasing micro-pitch discrimination. However, in my recent collaboration with a chromatically-trained singer, we have found that micro-pitch matching seems to be intuitive even in the absence of formal micro-pitch discrimination training.
I am amazed by this and it makes me reflect on some remarkable implications: that the basis of chromatic training might be easily 'upscaled' in playing/singing. And the practice of this innate micro-pitch matching can provide a foundation for the further assimilation of high pitch-resolution, equal division of the octave (EDO) or other scale division methods into polychromatic (conceptual) systems, creating a framework for further development.
dolomuse that's amazing!
A E S T H E T I C
actually enduced a judder at 0.28 :) haha lov it.
Has she played without effects?
0:38
0 dislikes :)
Such eighties
Jake Chudnow.
this picture at the end looked so familiar, that it was amost scarry inimate
All these polychromatic chords sound the same, there's no stark difference like major vs. minor
hear this with acid tho xD
I think final fantasy 13-2 was inspired by this possibilitys . (2013 - they have a quiet diffrent music taste but sometimes used a piano (a locked one) ;o )
but are you locking yourself to the scale of a piano ? or is this >> open
The midi controller is capable of rendering any programmed pitchmap, so it is not locked in. I look at the chromatic scale basis of this tuning as a ‘bridge’ for musicians trained in chromatic theory and notation. This way, the focus can be on learning to hear, play and compose with very high pitch-resolutions like 72 and 106 edo without having divert practice/creative time toward learning a new notation and theory system.
Its a ‘bridge’ in the sense that it is an intuitive first step from our conventional musical (chromatic) language toward both extended-chromatic (12 note based) and non-chromatic pitch scales of the future.
is this micro sound engineering ? XD
I have a question: is there such a thing as hitting a wrong note in microtonal music? Not trying to be a smart ass or something, but it seems like that's an issue that's very common to Western music that I don't know if it exists in this kind of composition.
Great and deep question! It reminds me of the saying that there are "no wrong notes in jazz". Over many years, I have come to understand this statement as being related to an individual's appreciation of the many possible levels harmonic complexity. And yet, that statement also seems to minimize and homogenize all note choices as equally emotive, beautiful, expressive within a coherent musical composition. I think this may be what distinguishes how we perceive the intention or flow of musical expression in a composition vs a feeling of random (unintentional) note combinations.
On the other hand, what in the past was heard as dissonant and random because of its radical complexity, became understood and appreciated over time and with exposure to these new ideas. So, with microtonality and polychromatic music being a new frontier in aesthetic sound and music composition, expectations from the past (chromatic system) will be used as a basis of judgement ('wrong' or out-of-tune notes), until a new musical framework develops over time, with increasing exposure to this new type of music.
You have infinite tones, and do only chords