Mike, you are truly a monster on the Lumatone!

First time I've heard you speak at length, loved your playing for a while now. Loved the way you brought these concepts into "symbolic existence " for me 😂

Don't forget to thumbs up Zheanna's comment if you read this comment. As you know, we also adore your music. We should totally collab soon. You in?

Hahaha, same here, we were laughing our asses off while we were recording it :D

Yeah, no shat, he's a flarping genius.

@@HearBetweenTheLines mind your nomenclature!

@@FASTFASTmusic Hahaha

Thanks Stephen, glad you liked it :D P.S.: Yeah, totally. Fluctuation makes music feel more life-like.

I think the 7/4 harmonic seventh (which is a 7/6 over the fifth) has a certain amount of usefulness in a blues or bluesy jazz setting, to get really relaxed 7 chords before you bend up past the 6/5 minor seventh to the 11/9 neutral third. The 7 chords in blues don't really have dominant function, so it can very much work to include them... but harmonic sevenths and narrow septimal minor thirds aren't really very typical of actual blues practice. Though it's very true that there are fuzzy pitch areas, I think it's also nice to recognise the special connection that the blues has to the 11th harmonic: a perfect fifth down from the 11th harmonic or 11/8 superfourth (which though not talked about here is very important to the blues in its own right) you find the 11/6 neutral seventh, and then a perfect fifth down from that is the 11/9 neutral third. So it's like there's an extra dimension of harmony (the prime 11) not considered by the classical Western 5-limit stuff that the blues is tapping into there, and even if you're not bending to these notes, there's a definite bluesy feeling that the 11/x intervals have in common and evoke.

@@cgibbard Interesting. We used all those notes in the music we played at the end of the video, but we had different 'legitimisations' for those notes. Just goes to show that you can reach similar conclusions from different angles. But that's a really cool way to think about it. I really love the microtonal community for its diversity in thought processes and theorisations of musical phenomena!

not just a pretty face! 😂

Thank you so much! We feel blessed by your comment ;)

@@HearBetweenTheLines Yes, you are seriously so underrated , i wouldnt question even if your channel had 10 Mil subs i hope you get that deserved attention. 🙏 those videos are helping me deepen my understanding of microtonality and concept of harmonies!

Thanks a lot! And yes, Mats and Guro's music is very dear to our hearts.

Thanks, Aynsley! Glad you could take something from it :)

Hahaha, good one :D

Thanks, Bazil!

Thank you! Cheers!

Oooh, interesting, we'll give it a listen!

Thanks, Bill!

15 EDO has good approximations of the 7th and 11th harmonics, and the same 5th harmonic (major 3rd) as 12 EDO. The 3rd harmonic (perfect 5th) is 18 cents sharp, but usable, and the unique sound of the 5EDO subset is very worth it. 11/9 is conflated with 6/5 and 8/7 is conflated with 7/6. This one encourages exotic scale structures, but they can sound bluesy if used right. 17 EDO is for you if you hate the 5th harmonic but like the 3rd, 7th and 11th harmonics, but it's the smallest EDO with recognizable and distinct (super)major, (sub)minor, and neutral thirds. The lack of normal major and minor thirds mean this will sound a bit strange whatever you do, but that can be a good thing. See. e.g. Mercury Tree's album Spidermilk (not really blues, more prog-rock or metal) 19EDO doesn't technically have a consistent mapping for the 11th harmonic (only 11/7 is inconsistently mapped I think), but treating 19EDO as if it conflates major and neutral 3rds generally works. I have written bluesy (or at least jazzy) sounding things in 19EDO. 22 EDO is solid on harmonics 3,5,7, and 11 but, like 15EDO, it conflates 11/9 with 6/5. This can work for later blues/jazz styles e.g. bebop. Note that a 12EDO major scale with 12 EDO versions of the blue 3rd, 5th and 7th added results in a 10 note scale C D D# E F F# G A Bb B C, with 2 long steps and 10 short steps. This structure works in 22 EDO also (3/22 for the long step and 2/22 for the short step) -- Paul Erlich published some theory on 10 note scales like this (pentachordal decatonic), without linking them to the blues, although he did record a track called "decatonic swing" using them. 24 EDO is an option worth considering if you're ok with 12 EDO in the 7 limit, except want to add a neutral 3rd. You can also tune the 7th harmonic down a quartertone from the 12EDO minor 7th, it will make some 7 limit intervals better and some worse. 26 EDO has good tunings of all the harmonics up to 19 with the exception of 15 (which is perhaps too flat to be recognizable). Like 22 and 12 it approximates 7/5 with a half octave tritone. Also like 22, it has a very smooth sounding "diminished 7th" chord with alternating minor and subminor 3rds. 26 EDO conflates the 11/9 neutral third with the 5/4 major 3rd. While 26 EDO is a meantone, it's on the extreme end and will sound audibly xenharmonic. I think 26EDO is criminally underused. I've never tried to sound bluesy in 29 EDO, but I like the sound of the tuning, and I suspect it can be used for blues. 29EDO has usable tunings of all the odd harmonics up to 15. Like 26 EDO, it conflates the major 3rd and the neutral 3rd. 34 EDO is near just on the first 17 harmonics aside from 7th. If you use the sharper mapping for the 7th harmonic (988 cents), the same 10 note scale that works in 22 EDO also works in 34. Like 31 EDO, 34 EDO has distinct major, minor, neutral, subminor, and supermajor 3rds. I think the better perfect 5th makes it sound punchier than 31 EDO, though. Highly recommend.

@@RayPerlner Thanks for this comprehensive - and useful - reply! 😀 Having "distinct major, minor, neutral, subminor, and supermajor 3rds" should provide many more subtle flavours to melody than just the typical major/minor thirds of 12edo, so you've tempted me to give both 31 and 34 a spin. 😁

Thanks!

means a lot coming from you, B

In no prime EDO (except 3edo!), including 31edo, can either a diminished tetrad or an augmented triad - built from 4 or 3 _equal_ intervals - repeat at the octave. Instead, they have a tasty dissonance near the octave. 😀 However, if you like, you can _approximate_ the flavours of those chords as found in common practice, by closing the octave with one slightly different interval, providing the EDO is by a large enough prime. E.g. in 31edo, near equivalents consist of "aug": (0, 10, 20) & its inversions (0, 10, 21) & (0, 11, 21), and "dim": (0, 8, 16, 24) & its inversions.

Couldn't have put it better ;)

Isn't it? ;)

Not always (and this video didn't imply that they _are_ always) ratios of 7. Sometimes ratios in the 11-limit make more musical sense - see the other comments here, about the 11/9 neutral third, etc.

Yes, we loved that video series!