Thank you sooo much for performing my 22edo arrangement! It sounds like I expected to sound like. Well done! And I noticed that you used the harmonic 7th in 19edo, but unfortunately it turns out to be noticeably too flat (at least for my personal flavour). But it's still interesting.
@@FranciumMusic Of course! I used the harmonic 7th in 19edo as a passing tone; it is too flat for my ears as well. I’m also a guitarist, so I’m planning to choose 19edo as the tuning system for my first xen guitar! I play a lot of diatonic music so 19edo is the obvious choice, even if 22edo does offer better approximations to the harmonic series.
I have no idea how you do all this, this is soo beautifull and you like explained everithing soo well and I did understand everithing. I can't express how talented you are for not only knowing all this but also pkayng it and explaining it ! Thank you you are some special l
I love what you and Francium have done with this!!! In 19 it's clever to take the minor seventh and then lower it 1\19 in the next bar when it repeats; sounds extremely intentional since the structure repeats the chord twice in a row that way consistently!
@@NoTropicalFish thanks! it’s called a lumatone, which is a type of isomorphic keyboard. the familiar piano-like layout makes it easy to navigate! in 12edo, for example, you have the white keys and what would be the black keys are now blue. the lumatone, however, has a key distinction from the piano: its isomorphism, which maintains the shape of any chord, scale, arpeggio, or note sequence, similar to movable barre chords on guitar!
@@incription 280 fully customizable keys, the intricacy of the Lumatone, the fact that it allows you to explore all kinds of alternative tuning systems, isomorphism, and the fact that there are only two engineers who design and manufacture each Lumatone all contribute to the $4000 price tag
22EDO: Quite a lot of notes sound wrong. Bach was writing for a well-tempered relative of 12EDO, so this isn't surprising, particulary with how you have to use ups and downs just to get natural-sounding thirds in 22EDO. In 22EDO you have a consistency problem: The 3rd and 7th harmonics are rather sharp, while the 5th harmonic is flat. I am sure that if Bach had access to a 22EDO instrument (or better yet, well-tempered version thereof) he could have written something that would have sounded very good on it, and a few other people have done so, but this isn't it (major modifications would be required). 19EDO: Sounds much better, with a few wrong-sounding notes sprinkled in. Unfortunately, 19EDO has a bad 7th harmonic, so your choices with that are either way too flat (which sounds more like a somewhat over-stretched major sixth than a harmonic minor seventh) or even more way too sharp. I am sure that if Bach had access to a 19EDO instrument (such things actually had been made before his time), he could have written something that would have sounded very good on it, and he could have even written this to sound good on it with just a few modifications. 12EDO: Bach was writing for a well-tempered relative of 12EDO, so it isn't surprising that this sounds okay. The (soft?) synthesizer that the Lumatone is connected to can power through the relative lack of resonance in 12EDO's intervals (63/50 instead of 5/4 major third, and take your pick of 25/21 or 19/16 instead of 6/5 minor third), and it doesn't have to worry about string resonance anyway if that wasn't programmed into the synthesis to start with. The 12EDO solution to the 7th harmonic problem is to temper it to almost 16/9, which even if not exactly what you want, is at least a good consonant interval.
Thank you sooo much for performing my 22edo arrangement! It sounds like I expected to sound like. Well done!
And I noticed that you used the harmonic 7th in 19edo, but unfortunately it turns out to be noticeably too flat (at least for my personal flavour). But it's still interesting.
@@FranciumMusic Of course! I used the harmonic 7th in 19edo as a passing tone; it is too flat for my ears as well. I’m also a guitarist, so I’m planning to choose 19edo as the tuning system for my first xen guitar! I play a lot of diatonic music so 19edo is the obvious choice, even if 22edo does offer better approximations to the harmonic series.
I have no idea how you do all this, this is soo beautifull and you like explained everithing soo well and I did understand everithing.
I can't express how talented you are for not only knowing all this but also pkayng it and explaining it ! Thank you you are some special
l
I love what you and Francium have done with this!!! In 19 it's clever to take the minor seventh and then lower it 1\19 in the next bar when it repeats; sounds extremely intentional since the structure repeats the chord twice in a row that way consistently!
Thanks, Stephen! I love moving down the minor seventh 1\19 to form the harmonic seventh in the next bar; it's one of my favorite things to do in 19!
Thats pretty cool piano
@@NoTropicalFish thanks! it’s called a lumatone, which is a type of isomorphic keyboard. the familiar piano-like layout makes it easy to navigate! in 12edo, for example, you have the white keys and what would be the black keys are now blue. the lumatone, however, has a key distinction from the piano: its isomorphism, which maintains the shape of any chord, scale, arpeggio, or note sequence, similar to movable barre chords on guitar!
@@YoVariable Thats actully rly interesting
also nice hands
just intonation simple ratios ahh sounding temperament💀💀🙏🙏😭
@@bgqt 😭
stop getting so emotional
@@Fire_Axus nuh uh
@@YoVariable bruh
@@Fire_Axus "stop getting emotional"
you should learn to become passionate.
ok but why is this keyboard $4000
@@incription 280 fully customizable keys, the intricacy of the Lumatone, the fact that it allows you to explore all kinds of alternative tuning systems, isomorphism, and the fact that there are only two engineers who design and manufacture each Lumatone all contribute to the $4000 price tag
22EDO: Quite a lot of notes sound wrong. Bach was writing for a well-tempered relative of 12EDO, so this isn't surprising, particulary with how you have to use ups and downs just to get natural-sounding thirds in 22EDO. In 22EDO you have a consistency problem: The 3rd and 7th harmonics are rather sharp, while the 5th harmonic is flat. I am sure that if Bach had access to a 22EDO instrument (or better yet, well-tempered version thereof) he could have written something that would have sounded very good on it, and a few other people have done so, but this isn't it (major modifications would be required).
19EDO: Sounds much better, with a few wrong-sounding notes sprinkled in. Unfortunately, 19EDO has a bad 7th harmonic, so your choices with that are either way too flat (which sounds more like a somewhat over-stretched major sixth than a harmonic minor seventh) or even more way too sharp. I am sure that if Bach had access to a 19EDO instrument (such things actually had been made before his time), he could have written something that would have sounded very good on it, and he could have even written this to sound good on it with just a few modifications.
12EDO: Bach was writing for a well-tempered relative of 12EDO, so it isn't surprising that this sounds okay. The (soft?) synthesizer that the Lumatone is connected to can power through the relative lack of resonance in 12EDO's intervals (63/50 instead of 5/4 major third, and take your pick of 25/21 or 19/16 instead of 6/5 minor third), and it doesn't have to worry about string resonance anyway if that wasn't programmed into the synthesis to start with. The 12EDO solution to the 7th harmonic problem is to temper it to almost 16/9, which even if not exactly what you want, is at least a good consonant interval.
Thanks for your detailed analysis! The Lumatone was routed through the Steinway Model D Felt Piano I within Pianoteq 8.