It's very amenable to 6/9 chords.

Thank y o u for digging it! ;)

try do this text _this_ *this* -this- *_this_* *_-this-_*

@@theresa.y5221 Is that to help the algorithm?

@@bazookaman1353 if you want it to do that.

@@theresa.y5221ok

Orchestration is definitely a key player...

Thanks for this comment it really helped me. :)

Hahahahahaha, you're awesome Subh :D

Thanks Ben! We're really glad you like it :)

Absolutely, Zhea is so awesome!

Thanks, Serban, we appreciate it a lot!

You're very welcome! db

"Flarp" A.K.A. "Shat"

Thanks Leo, glad you like it! If you want to do us a favor: Let others know about it, so we can do more of these! Cheers :)

Much appreciated! Thanks a lot! db

Glad it was helpful!

Absolutely, we checked out Vicentino a while back and still can't get over the fact, that *so* long ago, people knew this stuff (some, granted, but still...) and that up to this day microtonal music isn't more mainstream knowledge.

You've got mail ;)

@@HearBetweenTheLines I keep checking!

@@FASTFASTmusic Now!

Well, it's definitely higher up in the harmonic series, that's for sure. Although if you look at it though the lens of primodality, the 15th overtone is more "consonant" than the 7th. Depends on your ear and expectations, I guess :)

You know it

Absolutely! Glad you like it :) Rami wrote that a couple of years back as a challenge to come up with a microtonal "Moonchild" progression!

Hahaha, the sh(arp, but a little fl)at 11 ;)

Simple diatonic structures still work the same as in 12tet, but many more scales are possible, and many of the useful ones are still in a very manageable number of tones. There are scales that are essentially diatonic but may replace major or minor tones with supermajor or subminor tones to change colors, or scales such as Orwell[9], Mohajira[7], and Squares[8] that include entirely new chords and harmonic systems.

Yeah Alex is exactly right. :) In 12-TET we could play 10-note or 11-note scales, but we don't do that very often. The pitch space in 31-TET (the octave) is still the same as 12-TET, so "rules" for how close tones can be to each other still basically apply. In 12-TET, we make scales out of minor seconds, major seconds, and augmented seconds (most of the time), but in 31-TET, we can make scales out of chromatic semitones, diatonic semitones, neutral seconds, major seconds, supermajor seconds, and augmented seconds (and even more, of course, but these are probably the most common). Obviously that means we have more scales to work with, but it also means that the amount of notes in these scales will be relatively similar to the amounts of notes in 12-TET scales.

Good point, we were debating that.. Strings just have to be completely free of vibrato and thus also sound a little weird sometimes. But an electric piano or just some more synth-like sounds might do the trick. We thought it's easiest to hear the differences with an acoustic piano, because everybody's so used to hearing it in (almost precise) 12-TET...

@@HearBetweenTheLines Agreed with piano sound for demoing chords.... somehow never quite works for me. Especially since we are so used to how it sounds in 12TET.

I would recommend pure sine waves for demos (and not too high, C3 octave is fine) that will show off the harmonics and beating for 12tet vs JI\31

@@FASTFASTmusic Definitely agreed. I've done quite a bit of playing in 31edo with sine waves and it sounds very nice. :)

@@FASTFASTmusic Sine waves obviously don’t have harmonics, so if you’re trying to show how in tune 31edo intervals are, using them wouldn’t make much sense. Using a piano makes sense, or a guitar, because it has an overtone peak at the 5th harmonic, so it should be good for 31edo.

Hahaha, don't we know that feeling... 31 is the best compromise if you wanna have good approximations of 12 TET and quite a lot of overtones, but 41 TET's fifth beats 31 TET's (at least figuratively ;) get it?! )

@@HearBetweenTheLines And 53-TET gets you within a hairsbreadth of Just Intonation (1/315 comma meantone). But the more tones you have, the harder it gets to build keyboard instruments (especially pipe organs), which is probably why only 12-TET caught on in European music.

31 EDO being a meantone scale is quite easy for beginner microtonalist. 41 and 53 EDOs are not meantone, they make difference between greater tone (9/8) and lesser tone (10/9), so you have to deal with commas all the time you're composing or playing.

19, 22, 31 and 34d are different for chords, they have their own unique sounds. 19 and 31 have more benefits for jazz than 22 or 34d. 19 and 31 are syntonic comma tempered but 22 and 34d are syntonic comma distinguished, make more complex notations.

Western music theory from the early 16th century until the present day is based on meantone, since it assumes no distinction between 9/8 and 10/9. 31-TET maps 9/8 and 10/9 to the same interval while 34-TET distinguishes between the two, making notation more unwieldy.

I also love it, it's just fiendishly hard to play...

Lmao it looks wider cuz he has skinny legs

it's only "manspreading" if it's done selfishly in a confined space with others

Thanks for pointing that out, @caimansaurus5564 :) We really didn't want to appear rude or inappropriate in any way! But we take the feedback seriously, especially because it was put in such a differentiated way by you, @axolotl8694!

We can definitely sing in 31-EDO, especially with instruments playing in the same system :)

If you can hear the difference between the notes, you can train the ear to get used to it. It's only because 12-TET is so intensely pervasive everywhere that it makes it seem like an impossible task.

Hahahaha

Interesting! Can you share your experience, that would be fascinating for us :)

@@HearBetweenTheLines Sure. Major Chord After the second one, the E feels flat and like it wants to create a binaural effect with the true E in my mind. This fools me in to think its a slightly flat F demodulating to an E, which throws me off more. Minor Chord The E flat sounds a little bit sharp, throws me off a bunch. Augmented Chord The E and the G sharp sound like they are 1 quarter tone flat. Crazy in my mind. Diminished Chord The G flat sounds a little bit sharp and messes with the tritone I would usually hear, making a binaural effect again in my head. Drives me a little bit crazy. So yeah. Perfect pitch doesn't like that.

@@gallium-gonzollium Thanks for sharing! It's so interesting how different people with perfect pitch perceive non-12TET notes, Mike Battaglia or Stephen Weigel for example are into microtonality precisely because of the way it feels for their ears.

@@HearBetweenTheLines However, what I do like about microtones and half flat and half sharps, is those intro chords. Perfect.

yo it's the desmos guy who included gleam as one of the soundtracks in the desmos countdown video

It sounds . . . messy.

Hmm, you're not the first one to point that out ;) We thought it's a funny juxtaposition to the seriousness with which we pursue the topic!

Noted, thanks for the feedback!

Some of the chords are definitely somewhat acquired tastes, give it some time! Thanks for being so open-minded and curious!

Absolutely, listen to our songs instead!