Love that!! The irony is, I prefer just intonation haha. But 31 is just such an incredible general structure. It’s the logical extension of 12. 19 isn’t satisfactory to me for several reasons. 31 feels like the tuning to me that has the highest probability of breaking through to mainstream wide spread usage

@@ZheannaErose To be fair to 19EDO, it is often the best tuning for pieces whose main structure is based on something non-diatonic (e.g. negri or semaphore), and while 31EDO may sound better for most diatonic stuff, 19 can sound better than 31 in diatonic modes that emphasize the minor third e.g. Aeolian. I also find the conflation of 8/7 with 7/6 a helpful corrective to the 12-edo-based bias that tends to think of 7/6 as a kind of 3rd and 8/7 as a kind of 2nd, even though 7/6 is closer to 8/7 than it is to 6/5.

@@RayPerlner I think 19 sounds bad as a gestalt. Not just diatonic.

@@ZheannaErose well there’s something we disagree on.

​@@ZheannaEroseFifth too flat for you? I managed to make a pretty good sounding track in 19edo, imo. It is diatonic, though

not immaturity at all!! I definitely hear it like wind chimes too.

@@ZheannaErose any growth I’ve made I can attribute to you making it easy to understand.

yeah, when i messed with this on my daw, i totally heard wind chimes. i can't unhear it now lol... not that i want to.

to get a similar effect with a scale that sounds similar to 53edo, i’d recommend 41, as it has the property of three supermajor seconds making a fifth in the same way as 31.

Thanks! I don’t think of 31 as a 17th century or dated sounding tuning at all. It can certainly do meantone with a well tuned 3rd but that isn’t what I think of when I think 31. I have no intention of ever doing anything with 19 - it doesn’t interest me at all. 34 is nice. I’ve made a video featuring 34 already. 29 I have used a lot as a base to be neji’d by. Wxtchcrxft is in a 29-neji

many VST synths already support microtonal tuning including JI - notable are Pianoteq, U-He products, and Kontakt

get infinitone DMT plug in... it is the fastest way to access all of this

To elaborate on CV's comment, you can find a synth that supports retuning through loading .scl/.kbm or .tun files, and you can generate tuning files to use this way by using either Scala or Scale Workshop, the latter of which is pretty simple to work with. I guess Scala has a lot more features for really diving into the specifics of tuning systems though I haven't personally used it yet. Some other synths that support retuning are ZynAddSubFX/ZynFusion and Vital. I think Surge also supports loading custom tunings.

mohajira is a close second for me

Trying pivoting from meantone to septimal meantone to mothra mode V by sharping the fifth a diesis Then you get a chromatic process of b3 to sin3 and 2 to ^2 with fifth to vb3 with ^5. There are tons of ways to chromatically integrate it hopefully this one can help! I’d also suggest using mothra [5] and exploring its connection to meantone [5] Also you could do meantone major to mohajira to septimal meantone to mothra. Gives you internal and implied chromaticism in lots of ways

@@ZheannaErose interesting, will give it a try, thanks. do make a tutorial or two about these "chromatic" techniques down the line.

@@vojkofau definitely will do! Also tons of direction can be added to mothra by rotating while preserving the same root. Like take a listen at 09:21. Movements like this is how you give direction to mothra. It results in chromatic alteration all the way down as you do modal mixture on the same root (tapping into the mothra [11] super set)

I guess I’d mostly suggest the Xenwiki. Although I think a lot of the stuff on there is pedagogically trash. But some of the more general xen terms you didn’t understand are probably answered there. The state of xen pedagogy is dismal. Which is why I wanted to start this video series. Eventually I’d like to explain more of the general xen concepts on my channel but for now sound goes brrr

Just like how with the major scale, you have modes, and in each mode, the W-W-H-W-W-W-H pattern shifts over, it's the same here but with 2 different intervals from 31tet. It's just a slightly wider "W" interval than 12tet. So, like a "fat" M2, which is close to 8/7 in the harmonic series and a very small m2 which is a single step in 31tet and 38.71 cents wide. So you get the same kind of thing where the pattern shifts over with each mode. So: W-W-W-W-W-H W-W-W-W-H-W W-W-W-H-W-W W-W-H-W-W-W W-H-W-W-W-W H-W-W-W-W-W From there, it's just analyzing the different intervals you get between each note of the mode, like where your 5ths are and where the little "H" interval is, etc. I don't know, maybe you already get all that but there was something else that wasn't jiving?

@@ZheannaErose Understandable. I know it's pretty new overall, so the vocabulary is developing. Sure, there were composers hundreds of years ago messing around with systems utilizing more than 12 tones, but what I see in the community now is so much more expansive, especially since technology makes it much easier to experiment with. I really appreciate that you're helping develop or at least spread/ standardize language for it!

@@spacevspitch4028 It's mostly some of the broad descriptive terms. Zhea talks a little about MOS structure and the terms used to ellaborate on that, but that might be a topic on its own for another video, like what is MOS, what the types of structures are, etc. Same thing with slendric and mothra; there's some explanation on what they are, but diving into framings would be super useful, too. The name slendric makes me think of the Indonesian slendro, so my assumption is that it bears similarities to that.

@@jeremiahsweeney6577 MOS short for Moments of Symmetry is a game changing and revolutionary formalization of structure by Erv Wilson. It’s one of the most important music theory ideas we now have imo. It’s very intuitive but people often explain it with formal math language instead of music. Here is an amazingly fantastic vid by a great composer on the topic: kzfaq.info/get/bejne/gpmXmpiq19Pbpqc.html MOS are basically well formed scales created by utilizing on 2 different step sizes ordered in various ways which can nest upwards or downwards to form hyperchromatic or chromatic or diatonic or pentatonic versions of various structures. The notation for them is like 5L2s which is Diatonic. Or 5L1s in this video called Machinoid. The beautiful thing is these are just general structures and can have tons of varying large or small step size ratios to turn these structures into massive universes. Almost everything you’ve ever done with basic diatonic and chromatic modes was based inside MOS Major scale is a 7 note mos. It has a 5 note mos subset we call pentatonic. Which has a 3 note mos subset we call sus2 which has a 2 note mos subset we call Open 5th. The 12 note set is the super set for 7. The 19 note set is the super set for 12. 31 is the super set for all below. 50 is the supersupessuper set etc I feel this explanation sucked but I have food poisoning and I’m rambling away on my phone typing lol. I’ll make a vid on it sometime. There is a ton of info on MOS on the xenwiki: en.xen.wiki/w/MOS_scale this page is like meh Here is temperament agnostic mos naming (tamnams): en.xen.wiki/w/TAMNAMS

Only if the octave can be divided into 5 equal parts.

Scala scale application

@@ZheannaErose Thank you!

nah, there isnt a lot of good microtonal programs in universities. there are definitely some but i learned all of this entirely on my own. i did study music theory / comp in conservatory but i've always been a massive theory geek and independently self studied. i am now in the process of making better pedagogical resources cause i feel its so important to share these sounds with everyone. not to promote or spam you but if you'd like to learn microtonality from me and inside my small community, i just made an educational space to teach people: www.patreon.com/Zheanna. This platform is where I'll be posting tons of musical ideas, educational content, offering music lesson, etc. Even for just $3 you can poke me about all your music questions. Hope to see you involved!

scala and fl studio :)

modality and tonality are simply not exclusive. common practice tonal harmony is literally just a horizontal expression of ionian instead of vertical. i'm not sure what you mean by the rest of your question. the 11th has never been a "crunch tone" in a minor context in 12edo. the perfect 11th always just adds smoothness and body. the subminor + 11 combo sounds fantastic because the 11th gives the expected smoothness and body while the subminor gives a darker and richer minor base.

@ZheannaErose yes my mistake. Sorry about the 11th tone. However tonal harmony is not just a horizontal expression becuase hugo riemann defined tonal works through the major triads, not as individual tones or concords but in fact a trichords with the complementiom of the major and minor 3rd, That were in the sequences of consecutive 5ths. Thus having an oscillation effect on our ear. Thus no cadence or concord for that matter is ever finale. Melodic terms or horizontal expression as your mentioning can be linked with ionion if we multiple the intangible intervals: octave, 5th 3rd. once we have secundal harmony we can utilize this for our melodic taste such as inversions of chords. (Not saying we couldn't do that with the beginning triads but the triad was not seen a compositional tool more so as a phenomenon). So when we're thinking horizontal we are thinking in terms of the scale throught scale degrees. Also what do you mean by common practice tonal harmony, like what are you indicating is uncommon? Are you mentioning the orthodox system that allowes us to characterize sonorites in a particular family? or a are you mentioning the quasi function tool to justify cadence and sonorties in a particular family?

These vids are sick!!! notation and vocabulary is all cool but besides showing modal rotations and topological spaces could you explain the relationship the scale has in relation with its fixed fundemntal point (not giving us note names relative to the fundemntal tone or a triad for that case becuase we know how that dynamismand hierchey works). Becuase I see need it justifying it's use other than saying it's "darker". More so what does this interval/ discord cause this other discord/ interval to react.

Yo you got an answer to these questions?

​@@ivanbrown304 What questions did you ask here? Darker has a very literal and specific meaning in what is called "UDP" notation which is based on ordering MOS scales by mode of generator upness vs downness. Luckily in most scales I've interacted on, I do hear it also align with the UDP notation but it's not intended to by design. All of the questions you are asking are answered by the RTT interpretation of Mothra given in the video as a tempered set of 8/7s. I'm confused what you are actually asking. I don't agree with Riemann. I've studied his body of theory before and some if it is okay but I disagree with him on very much. For example -- polarity and harmonic dualism. It's pretty obvious humans don't hear polar. It's a construct he has just because it's pretty on the page and fits well with regular systems which is what his system is based on. It is simply one particular view on music (and a useful one in many cases). Riemann isn't an objectively "complete" or "authoritative" perspective.

Everything is connected Large Step Large Step Large Step Large Step Large Step Smol Step mothra temperament Subminor 7, 432 Hz is the answer Primordial expression 1123581321 Modal Hierarchy established

For me it is not about skill. It is about beauty. This video is to educate others on how to utilize what inspires them through beauty.