I think Dave has found something he really loves here! In his first few Lumatone videos, he honestly admitted that microtonality what very new to him. Now, with 22TET, he's showing a more serious fascination -- something he can really relate to. He's making some great sounds with it too! Keep 'em coming, Dave!
Another good tuning to go over would be 17TET: It’s a lovely ear-scorcher, even more extremely non-meantone! Its major third is so sharp that it becomes a dissonance that begs resolution to fourths or fifths. Arguably sometimes 17TET’s M3 can even resolve *to* tritones! That exactly upends Common-Practice Music Theory expectations, where tritones are dissonances that demand resolution to thirds.
Yes but its minor third is pretty relaxed (between 7/6 and 13/11, actually very close to 20/17), although not as relaxed as that of 22TET or 27TET. It is about as relaxed as the minor third of 12TET (between 6/5 and 13/11, very close to 19/16). Somewhat relaxed, somewhat tense. The lesser tritone of 17TET is okay as well (between 7/5 and 11/8, very close to 18/13). The greater tritone of 17TET is arguable a little bit more relaxed (because very close to 13/9).
Awesome stuff, Dave and Lumatone! Really-excellent illustration of Meantone tunings and why 22TET is not one! Also excellent illustrations of the various tetrads, most being new to me, having only worked with 22 … like 40 years ago on a pawn-shop guitar I refretted. I like your intro improv too; I had never heard these kinds of “whoa, Trigger!” sounds from 22 before! 1:55 - Just a subminor, pedantic nitpick: Strictly speaking, it’s a Syntonic _pseudo-comma_ , since the true Syntonic comma is an 81:80 ratio. But yes, within the 22TET framework, that is indeed exactly how it functions. 34TET and others also each have an equivalent-functioning, but different, pseudo-comma.
The pseudo comma (quarter tone) of 22TET is very close to 33/32, and pretty close to 36/35 also. Thus it could be considered as either the difference (quotient mathematically speaking) between 9/8 and 12/11 or between 8/7 and 10/9. In reality the neutral tone of 22TET is close to 11/10, between 10/9 and 12/11. And the whole tone of 22TET is close to 17/15, between 8/7 and 9/8.
@@henrikljungstrand2036, yip! As another way-minor comment: I thought the phrase “neutral tone” was interesting. It’s fine, but I’d more likely call it a “neutral second.” Since I’m a Mandarin speaker (non-native), “neutral tone” has a very-different meaning in my mind! 😉
@@mr88cet Yes i meant the neutral second, i just adapted the terminology of Dave for a bit. It is better to say major second than whole tone also. I suppose you were thinking about speaking intonation/inflection, when you read "neutral tone", Gary. 😂
Same when you add the "up minor 6th" to the tiny triad, and also the harmonic minor 6th. The notes beat right, at least with the timbre you're using, how it seems to have a little bend in the decay.
Hello, all that hang out here and are reading this my post here; is there by chance an active chat area somewhere where you microtonal ears all hang out and chat? I am a blind Audible SAVANT who has all my life heard naturally the microtonal landscape, and many for the longest time thought I was crazy in this arena, But now that I have found the microtonal legitimized I want to immerse myself in it with others, I am a life long career record producer with real-world accomplishments and having purchased my homes making records and found some mild success in the modern western music production market, artist development, and product distribution I now find myself retired from the corporate contracting aspect of my career, and finding myself hungry to explore microtonal composition applying to my love of Progressive Jazz Fusion. I have had this layout described to me and then drawn in embossed retraced cardstock to give me an idea of the layout so I can feel it and I like it more than the others I have had explained to me. Well, I better stop here and just ask if there is a chat area where I can engage in dialog with others regarding Microtonal and all its wonder and discovery?
Hm. No porcupine mentioned. Also, as a person who likes harmonic 7th: Jesus's favorite? And in 22, which doesn't really have a good harmonic 7th and is actually superpyth tempering out 64/63?
Looking forward to the next 20 parts
Pretty sure we'll see a part 72. The rabbit hole goes deep, as you know! Spellbound is such a JAM
Sevish :O
Wow. I've never heard this tuning before. To me it feels like the perfect mix between familiar intervals and fun and unique microtonal stuff. Love it!
I think Dave has found something he really loves here! In his first few Lumatone videos, he honestly admitted that microtonality what very new to him. Now, with 22TET, he's showing a more serious fascination -- something he can really relate to. He's making some great sounds with it too! Keep 'em coming, Dave!
I’m really glad you all are providing these videos! Where did you get the names “magical,” “ tiny,“ and “giant“ from?
Thanks Stephen! I found those terms on the Xenharmonic Wiki
Probably from here:
en.xen.wiki/w/22_EDO_Chords
But I couldn't find out where those names came from, when I found it some time ago.
Another good tuning to go over would be 17TET: It’s a lovely ear-scorcher, even more extremely non-meantone!
Its major third is so sharp that it becomes a dissonance that begs resolution to fourths or fifths. Arguably sometimes 17TET’s M3 can even resolve *to* tritones!
That exactly upends Common-Practice Music Theory expectations, where tritones are dissonances that demand resolution to thirds.
Yes but its minor third is pretty relaxed (between 7/6 and 13/11, actually very close to 20/17), although not as relaxed as that of 22TET or 27TET. It is about as relaxed as the minor third of 12TET (between 6/5 and 13/11, very close to 19/16).
Somewhat relaxed, somewhat tense.
The lesser tritone of 17TET is okay as well (between 7/5 and 11/8, very close to 18/13).
The greater tritone of 17TET is arguable a little bit more relaxed (because very close to 13/9).
Also the neutral third of 17TET can function as a tense version of both 6/5 and 5/4, since it lies between them, actually it is close to 11/9.
That last part sounded super good!
Nice! I liked the little extract at the beginning.
Thanks!
The way you play some of these chords with just your forefingers gives me anxiety, lol. I plan to use my thumbs a bit more when my Lumatone arrives XD
This is such a good tuning
Could you also upload some more improvisation or compositions played in your favorite tunings?
Our Instagram and Tik Tok accounts showcase a lot of pieces, check it out!
Awesome stuff, Dave and Lumatone!
Really-excellent illustration of Meantone tunings and why 22TET is not one! Also excellent illustrations of the various tetrads, most being new to me, having only worked with 22 … like 40 years ago on a pawn-shop guitar I refretted.
I like your intro improv too; I had never heard these kinds of “whoa, Trigger!” sounds from 22 before!
1:55 - Just a subminor, pedantic nitpick: Strictly speaking, it’s a Syntonic _pseudo-comma_ , since the true Syntonic comma is an 81:80 ratio. But yes, within the 22TET framework, that is indeed exactly how it functions. 34TET and others also each have an equivalent-functioning, but different, pseudo-comma.
The pseudo comma (quarter tone) of 22TET is very close to 33/32, and pretty close to 36/35 also. Thus it could be considered as either the difference (quotient mathematically speaking) between 9/8 and 12/11 or between 8/7 and 10/9. In reality the neutral tone of 22TET is close to 11/10, between 10/9 and 12/11. And the whole tone of 22TET is close to 17/15, between 8/7 and 9/8.
@@henrikljungstrand2036, yip!
As another way-minor comment: I thought the phrase “neutral tone” was interesting. It’s fine, but I’d more likely call it a “neutral second.” Since I’m a Mandarin speaker (non-native), “neutral tone” has a very-different meaning in my mind! 😉
@@mr88cet Yes i meant the neutral second, i just adapted the terminology of Dave for a bit. It is better to say major second than whole tone also.
I suppose you were thinking about speaking intonation/inflection, when you read "neutral tone", Gary. 😂
@@mr88cet Also, the "difference" between 17/15 and 11/10 is 34/33, really close to both 33/32 and the 22TET subminor second/quarter tone!
Thanks as always Gary! Good call on the correction as well
beautiful.
"Magical" and "tiny" triads, with the bass notes you played too, seem to make a bluesy combo...
Same when you add the "up minor 6th" to the tiny triad, and also the harmonic minor 6th. The notes beat right, at least with the timbre you're using, how it seems to have a little bend in the decay.
Hello, all that hang out here and are reading this my post here;
is there by chance an active chat area somewhere where you microtonal ears all hang out and chat? I am a blind Audible SAVANT who has all my life heard naturally the microtonal landscape, and many for the longest time thought I was crazy in this arena, But now that I have found the microtonal legitimized I want to immerse myself in it with others, I am a life long career record producer with real-world accomplishments and having purchased my homes making records and found some mild success in the modern western music production market, artist development, and product distribution I now find myself retired from the corporate contracting aspect of my career, and finding myself hungry to explore microtonal composition applying to my love of Progressive Jazz Fusion.
I have had this layout described to me and then drawn in embossed retraced cardstock to give me an idea of the layout so I can feel it and I like it more than the others I have had explained to me.
Well, I better stop here and just ask if there is a chat area where I can engage in dialog with others regarding Microtonal and all its wonder and discovery?
Hm. No porcupine mentioned. Also, as a person who likes harmonic 7th: Jesus's favorite? And in 22, which doesn't really have a good harmonic 7th and is actually superpyth tempering out 64/63?
Agreed. I would love if this series started hitting upon scales. Two of my favorite are porcupine and it’s mod-MOSs and 19edo Godzilla.
I mean we all know Jesus’s favorite is a G sus4 chord