Transcript of Zhea Erose's primodality livestream
# tactiq.io free youtube transcript
# Theory of Primodality
# https://www.youtube.com/watch/KKxXdD-lkwI
00:00:00.870 [Music]
00:00:02.720 hello
00:00:04.319 hello everyone
00:00:05.270 [Music]
00:00:07.040 i believe i'm live now right
00:00:10.160 let me know
00:00:11.180 [Music]
00:00:14.799 today we are going to do a very special
00:00:17.760 thing
00:00:18.880 i am going to talk about the theories of
00:00:21.680 prime modality uh this is something i
00:00:24.080 get asked about a lot and it's one of
00:00:26.960 the foundational things behind what i'm
00:00:29.039 doing musically
00:00:30.560 so i thought today would be a great day
00:00:32.880 to talk about it so i'll let some people
00:00:35.920 arrive
00:00:37.440 so i'm going to go ahead and paste the
00:00:38.559 link here in a couple places let me know
00:00:40.480 if everything's working and you can hear
00:00:42.160 me and i am successfully live let me
00:00:45.680 just paste this here
00:00:47.360 live now talking about prime modality hi
00:00:50.960 there i'm very here for that hello tom
00:00:53.600 hello fiona today we are going to do a
00:00:56.960 sort of concrete video
00:00:59.760 exposition
00:01:01.120 of prime modality so i think it will be
00:01:03.760 fun i've got a lot of things um
00:01:06.560 planned uh now live just posting that in
00:01:09.680 some places
00:01:10.880 so yeah now i'm doing this on my music
00:01:12.479 channel because obviously it's most
00:01:14.240 relevant here um so i'm just gonna jump
00:01:17.360 right into it because i want for people
00:01:19.360 who watch this later they can instantly
00:01:21.439 start understanding this stuff
00:01:23.280 so let's jump into it
00:01:27.520 so
00:01:28.960 just intonation offers a vast and
00:01:31.759 infinitely deep ocean of sonic
00:01:34.000 possibilities
00:01:35.360 yet the harvest of tradition has reaped
00:01:38.000 only a limited shred of possibility from
00:01:40.799 this infinite harmonic landscape
00:01:43.600 it is my hope that with this approach
00:01:45.200 we'll be talking about today deeper
00:01:47.600 parts of the harmonic series will be
00:01:49.520 illuminated
00:01:50.799 freed and thereby
00:01:52.720 granting increased freedom and sensation
00:01:55.119 to the composer the listener and the
00:01:57.840 theorist i see this as a huge blind spot
00:02:01.680 that has kind of slipped under the radar
00:02:04.000 for the majority of modern just
00:02:06.960 intonation
00:02:08.720 so this approach a primotal approach
00:02:11.280 advances a philosophy of just intonation
00:02:14.560 which organizes the harmonic series into
00:02:16.879 several discrete
00:02:18.480 octave complete families
00:02:21.200 these are basically harmonic scales or
00:02:23.440 harmonic modes as some people are
00:02:25.280 familiar with
00:02:26.560 these harmonic modes may then be sorted
00:02:28.640 by primacy to generate unique color
00:02:31.760 palettes
00:02:32.959 by taking a prime harmonic and treating
00:02:34.959 it as the numerary nexus in which all
00:02:37.760 numbers above or below it are drawn in
00:02:40.400 ratio against till you complete the
00:02:42.720 octave
00:02:43.760 we generate a pool of unique intervals
00:02:46.319 which function together as a natural
00:02:48.840 gestalt the prime modality prime
00:02:51.680 modality stands for prime
00:02:53.920 mode tonality and this is because we are
00:02:56.879 building modes and organizing modes
00:02:59.280 around primes but also a fundamental
00:03:01.760 part of the theory is that we can
00:03:03.519 tonicize we can create tonal sinners out
00:03:06.879 of these prime rotations of the harmonic
00:03:09.360 series
00:03:10.400 so
00:03:11.680 in essence primodality and function is a
00:03:14.480 self-closing mode or rotation of the
00:03:17.120 harmonic series
00:03:18.480 due to the nature of prime numbers
00:03:20.000 though when a prime number is respected
00:03:22.400 as the numerary nexus a pool of unique
00:03:26.239 non-reducible intervals will emerge
00:03:29.120 which have a unique and distinct sonic
00:03:32.000 identity
00:03:33.519 this
00:03:34.560 sort of emergent tonality can be used as
00:03:37.760 the fabric and material to build our
00:03:40.720 scales chords and various harmonic
00:03:43.280 perspectives out of
00:03:45.599 primodality then is a way to tangibly
00:03:48.159 and more discreetly systematize the
00:03:50.480 harmonic series and the intervals
00:03:52.480 contained within it if one does not use
00:03:55.040 the lens of vertical prime segments and
00:03:57.120 their factors there are just countless
00:03:59.519 segments with no organization no clear
00:04:02.640 relationship or hierarchy it becomes
00:04:05.439 mostly noise and chaos with the
00:04:07.280 inability to make clear statements about
00:04:09.840 where things are coming and where things
00:04:11.519 are going
00:04:12.959 which is why i think the overtube bias
00:04:15.200 has existed for so long for people who
00:04:17.040 aren't super familiar with the harmonic
00:04:19.120 series you know it's basically every
00:04:21.759 whole number going up forever and
00:04:25.280 for
00:04:26.080 years centuries decades however long you
00:04:28.400 want to draw it back for we have
00:04:30.160 essentially ordered everything based on
00:04:32.400 two or one so if you go and you look at
00:04:35.280 just intonation and really any video on
00:04:37.680 youtube or any article on the internet
00:04:39.919 you'll see everything is drawn over two
00:04:42.320 the seven of four is considered the nine
00:04:45.280 of eight is considered the eleven of
00:04:47.199 eight is considered 13 against eight is
00:04:49.440 considered 15 against eight is
00:04:51.520 considered and these are all beautiful
00:04:53.280 intervals but they're just one family of
00:04:55.840 intervals but the sort of entire history
00:04:58.960 of it until now everything has been
00:05:01.120 related back to over two which is very
00:05:04.000 interesting so it's really cool how the
00:05:06.000 harmonic series contains these
00:05:07.520 pre-existing octave complete
00:05:10.039 self-referential scales through which
00:05:12.320 can be sorted by primeness and
00:05:14.080 factorization away from a prime
00:05:16.720 to me it's also a way to think about
00:05:19.280 uniqueness and individuality highly
00:05:21.919 composite segments of the harmonic
00:05:23.600 series such as 12 or 18 or 24
00:05:27.520 are fundamentally less distinct than
00:05:29.840 prime segments
00:05:31.520 or prime segments that have only
00:05:33.199 experience factoring up of an octave or
00:05:35.919 two octaves or three octaves semi-prime
00:05:38.800 segments are also very fascinating
00:05:40.800 because they contain a mixture of both
00:05:42.960 prime families merged together so if you
00:05:45.600 like what the over 7 family gives you
00:05:48.240 and you like what the over 11 family
00:05:50.240 gives you you could do 77 to its octave
00:05:53.600 and you would have both complete over 7
00:05:56.560 and over 11 first octaves
00:05:59.440 prime modality thus also suggests a way
00:06:01.520 to consider distance and proximity to
00:06:04.800 and from uniqueness
00:06:06.400 the lower in the octaves you are on a
00:06:08.479 prime the more fundamentally unique the
00:06:10.960 pitch material is in fact in the first
00:06:13.600 octave there is no repeatable or
00:06:16.639 reducible intervals that exist at all
00:06:19.520 other than the octave itself when it
00:06:21.440 finally comes around the further you
00:06:23.600 factor that prime the more composite
00:06:25.840 things enter as it becomes its own meta
00:06:28.160 series which we'll talk about in a
00:06:29.520 little bit and the primal gestalt starts
00:06:32.160 to be undermined it starts to wear away
00:06:34.880 from the weight of composite intervals
00:06:37.199 suggesting other qualities
00:06:40.479 to me this proximity from uniqueness is
00:06:42.639 also an important element in the
00:06:44.160 perception of sounds one of the things
00:06:46.400 that traditional just intonation
00:06:47.840 approaches have always focused on is you
00:06:50.000 know what intervals can you really hear
00:06:52.160 what intervals are distinct enough and
00:06:54.560 far enough from each other that we could
00:06:56.319 tune them by ear and often times when we
00:06:58.800 see this in a lattice approach or a
00:07:00.400 limit approach people think this is
00:07:02.319 based on prime limit they'll say oh well
00:07:04.720 you can tune you know seven limit
00:07:06.720 intervals by ear but 13 limit intervals
00:07:09.199 you can't or 19 limit wow that's hard to
00:07:12.400 hear but what i have experienced
00:07:14.560 personally is that it is not about the
00:07:16.400 prime limit it's more about the integer
00:07:18.880 limit and as long as you are staying
00:07:21.440 under some given integer limit you can
00:07:23.919 tune them all by ear and in fact if
00:07:26.000 you're in the first octave of a prime
00:07:28.080 segment that interval is very distinct
00:07:30.720 and very unique and so it lends itself
00:07:33.199 to being able to be remembered
00:07:35.199 categorically for perceptual quality
00:07:37.759 much easier than other intervals so for
00:07:40.639 me this is a very important aspect of it
00:07:42.720 this proximity to individuality or
00:07:45.759 uniqueness
00:07:46.960 so
00:07:48.400 integer limit plays a large role in the
00:07:50.400 perception of sounds in my experience
00:07:52.560 but also how many times something has
00:07:54.639 been factored plays a large role so you
00:07:57.520 know something like 11 to 13 that has
00:08:00.879 only been factored once it's 11 to 22 in
00:08:03.840 that octave segment and if we were to go
00:08:06.720 up to maybe 22 to let's say 22 to 27
00:08:11.039 that'll get a little harder to tune by
00:08:12.879 ear because it's up another octave if we
00:08:15.280 were doing 44 to something near that it
00:08:18.080 would be increasingly harder so to me it
00:08:20.560 seems to be based on how far away you
00:08:23.599 are from that distinct nexus of options
00:08:26.879 um this is also why i tend to avoid the
00:08:29.680 generator lattice approach because
00:08:31.599 you'll instantly when you start stacking
00:08:33.599 just intonated intervals you'll
00:08:35.360 instantly end up with like you know huge
00:08:37.440 numbers over 512 or over 10 24 and in my
00:08:42.479 experience that is where the
00:08:44.240 distinctness of them starts to break
00:08:46.080 down i don't really think we hear
00:08:48.240 intervals
00:08:49.279 as the generator approach would claim
00:08:51.279 like when i'm hearing 9 8 or 9 4
00:08:54.399 i'm not hearing 2 3 2s i mean i just
00:08:57.839 don't hear intervals that way and i
00:08:59.600 don't think that they really manifest
00:09:01.200 that way either based on the way the
00:09:02.959 harmonic series relates to itself when
00:09:04.880 you play two distinct pitches right
00:09:07.680 we're not hearing a chain of intervals
00:09:09.440 to reach that 9 8 we're hearing the
00:09:11.279 harmonics from that 9 against 4 against
00:09:14.080 our 1 to 1 and then that creates an
00:09:16.720 emergent experience of the 9 4 as
00:09:20.000 opposed to hearing a 3 against two
00:09:21.680 against three against two against three
00:09:23.600 against two against three against two
00:09:25.920 now that's not to say that approach
00:09:27.440 isn't very useful because it is very
00:09:29.600 useful lots of people have made really
00:09:31.760 amazing music and great contributions to
00:09:34.160 music theory from that approach but to
00:09:36.000 me it seems a more arbitrary approach to
00:09:38.720 approach the harmonic series
00:09:40.880 so uh now further by using things like
00:09:44.000 near equal just intonation or negis we
00:09:47.279 can then impose and observe where
00:09:49.120 natural constant structure forms exist
00:09:52.240 on the harmonic segments themselves
00:09:54.800 and then by considering the primality or
00:09:57.120 primacy of these segments and how it
00:09:58.800 relates to the other prime segments
00:10:00.480 around it it reveals the way in which
00:10:02.880 harmonic segments relate to one another
00:10:05.440 so that the harmonic series can
00:10:07.040 ultimately be conceived of as its own
00:10:09.839 scale capable of being freely navigated
00:10:12.320 through freely composed in and moved
00:10:14.800 around inside despite its constantly
00:10:17.200 decreasing
00:10:18.399 step size
00:10:19.760 i'm going to go ahead here and check
00:10:20.880 some comments because i've just kind of
00:10:22.320 been going and going and going
00:10:25.519 hi everyone it's great to have you all
00:10:27.200 here oh my god you are live yes we are
00:10:29.600 here live and
00:10:31.040 uh yes so we shall now continue
00:10:34.000 so there are about nine pillars of prime
00:10:37.920 modality that i want to expose today
00:10:40.800 okay so i'm going to go ahead and go
00:10:42.640 through these so
00:10:44.560 first off
00:10:46.480 invertible equivalence is commonly
00:10:48.959 assumed in traditional just intonation
00:10:51.760 in traditional approaches
00:10:53.680 19 over 16 and 32 over 19 are seen as
00:10:58.800 seen as similar in fact they're seen as
00:11:00.959 equivalent in most cases in primodality
00:11:04.160 they are not each structure is respected
00:11:07.040 as its own distinct vertical identity
00:11:10.320 and it is not respected that way in
00:11:12.640 traditional approaches
00:11:14.399 so
00:11:15.600 we think of any vertical structure as
00:11:17.680 its own identity regardless if if we do
00:11:21.120 invert it yes it's true 16 and 19 and 32
00:11:24.320 over 19 are numerically related and yes
00:11:27.519 there is some connection in the way that
00:11:29.440 they sonically are represented but we do
00:11:32.720 not view them as equal they are their
00:11:35.200 own distinct sounds and sure they can be
00:11:37.760 related and considered related but they
00:11:40.240 are not equivalent and we cannot treat
00:11:42.079 them as equivalent
00:11:44.079 two
00:11:44.880 traditionally there is a preference
00:11:47.120 towards scales with high regularity
00:11:50.480 while cs forms or constant structure
00:11:52.560 forms allow us to get this in the
00:11:54.399 harmonic series via nudgies and sort of
00:11:57.600 mosses that have been warped around the
00:11:59.360 harmonic series prime modality to me is
00:12:02.160 most pure when the entire harmonic
00:12:04.399 segment is used as a musical scale
00:12:06.959 there's a piece i composed called
00:12:08.560 pandelia and pandelia uses over 17 the
00:12:11.839 entire two octaves of it and to me
00:12:14.000 that's really the purest form of
00:12:15.680 primodality where you have an entire
00:12:17.760 harmonic series segment this means
00:12:20.160 understanding and respecting how to
00:12:22.240 navigate a scale in which as you
00:12:24.320 approach the octave the steps become
00:12:26.480 increasingly smaller that is something
00:12:28.560 that you will gain from a primordial
00:12:30.079 approach that you won't get anywhere
00:12:32.000 else we basically have to understand how
00:12:34.160 to compose against a harmonic growth
00:12:36.560 curve because each step we have is
00:12:38.480 getting smaller and smaller and smaller
00:12:41.040 now of course this is why we use nudgies
00:12:43.200 because it simplifies it it gives us
00:12:45.200 some degree of regularity you know i
00:12:47.519 also have i'm going to open something
00:12:49.839 here i hope you all can hear this i'll
00:12:51.920 show you what i mean by increasingly
00:12:53.600 smaller step sizes
00:12:56.160 and i think everything is still audible
00:12:57.839 here too so
00:13:01.360 yes i'm saying that minor third and
00:13:03.120 major six are considered equivalent in
00:13:05.040 other theories and they are not
00:13:06.880 considered equivalent in this theory um
00:13:10.240 let's see here
00:13:12.360 [Music]
00:13:14.560 they're very convenient when they're
00:13:15.839 considered equivalent because then it
00:13:17.040 lets us do all sorts of little things
00:13:18.560 but okay so here's an example what i
00:13:20.800 mean by increasingly smaller step sizes
00:13:23.200 so this is the entire second octave of
00:13:26.000 11.
00:13:27.120 so
00:13:28.399 yes i i don't agree with octave
00:13:30.240 reduction i do reduce octaves for
00:13:32.320 convenience you know that's very nice
00:13:34.320 but i do not really believe in octave
00:13:36.800 equivalence um and i think that anyone
00:13:39.199 who sings just intonation in a room
00:13:41.440 should quickly see the octave
00:13:42.720 equivalence is not real in the
00:13:44.639 traditional sense like if i'm singing
00:13:46.639 and i sing um like if i sing an octave
00:13:49.920 and then i sing a third harmonic the
00:13:51.920 feeling of that third harmonic is not at
00:13:53.920 all the same as the feeling of
00:13:56.639 a three against two or two against three
00:13:58.720 you know
00:14:00.000 so yes octave reduction makes things
00:14:02.079 very simple for us and very clean for us
00:14:03.839 but it seems like a convenience that
00:14:05.680 we're applying to make things easier for
00:14:07.440 us to understand now okay so here is uh
00:14:10.560 oh that should play but it's not let me
00:14:12.800 go ahead and get this set up for us
00:14:15.120 really fast
00:14:17.839 that should be playing but it's not i
00:14:19.760 wonder why
00:14:21.360 hmm
00:14:24.160 no sound whatsoever let me just double
00:14:26.480 check here
00:14:28.480 default output
00:14:30.800 okay well that's a bummer i don't know
00:14:32.320 why that sound is not working but i was
00:14:34.399 going to demonstrate to you this
00:14:35.680 collapsing size of the harmonic series
00:14:38.000 when you compose oh there we go
00:14:40.079 okay so let's take a listen so this is
00:14:41.839 the entire second octave of 11.
00:14:45.199 and notice how each step gets
00:14:46.399 progressively smaller
00:14:47.470 [Music]
00:14:56.800 and now we're back at the octave
00:14:59.519 so this means let's say i want a minor
00:15:01.279 third
00:15:01.810 [Music]
00:15:06.399 it's going to be much wider on the
00:15:08.079 bottom than let's say if i wanted a
00:15:09.600 minor 7.
00:15:14.000 so you have to get used to composing
00:15:15.519 with these different links your
00:15:17.040 expectation of how far a minor third is
00:15:19.519 going to be on the keyboard or on the
00:15:21.120 layout is actually going to collapse or
00:15:23.360 expand depending on where you are in
00:15:25.120 that harmonic series
00:15:27.920 there is the major chord in over 11.
00:15:31.060 [Music]
00:15:37.519 quite a beautiful sound
00:15:41.260 [Music]
00:15:46.639 so when i'm playing this i'm thinking
00:15:48.079 you know the higher i get close to the
00:15:49.839 octave this the smaller my distances
00:15:51.920 become or i should say the larger the
00:15:53.839 distances become in terms of note
00:15:55.519 spacing and the closer i am to the start
00:15:57.839 of the octave the smaller everything
00:15:59.839 starts to become and that's something
00:16:01.920 that we just don't get in typical
00:16:03.680 approaches and i do use that approach
00:16:06.160 but i enjoy using nedgie's to make that
00:16:08.560 a lot simpler because it definitely can
00:16:10.560 be a headache thinking of these
00:16:11.920 constantly changing step sizes but there
00:16:14.639 is a benefit to it check this out so
00:16:16.720 this is something that you just will not
00:16:18.320 get in other systems so
00:16:22.079 unless you try really hard to make it
00:16:23.600 happen
00:16:24.399 so now if i take the shape and i move it
00:16:25.920 down
00:16:28.800 we get this drastic shift in color
00:16:33.730 [Music]
00:16:36.959 it's such an interesting quality
00:16:39.120 and then it slips up
00:16:41.310 [Music]
00:16:43.920 that's that super fourth the one decimal
00:16:45.519 super fourth so this is what we can do
00:16:47.759 with these sort of unequal step sizes so
00:16:50.240 i think regularity is overrated yes that
00:16:53.440 is over 11 you are correct that was 22
00:16:56.320 to 44 so this is the 22nd harmonic 23rd
00:17:00.079 24th 25th 26 27 28 29 30 31 etc
00:17:07.260 [Music]
00:17:10.319 indeed okay now we move on number three
00:17:13.679 commas are widely avoided or treated as
00:17:16.319 problematic in tradition traditional
00:17:18.240 just intonation
00:17:19.679 in prime modality
00:17:21.280 a comma is just a natural scale step
00:17:23.919 there is no special property about a
00:17:26.720 harmonic next to a harmonic it's just a
00:17:29.280 scale step and so there are they are
00:17:31.280 free to be embraced and considered as
00:17:33.120 the natural consequence of moving
00:17:35.280 through the harmonic scale therefore
00:17:37.520 comma doesn't really exist in prime
00:17:40.160 modality outside of namesake the comma
00:17:42.960 is just an adjacent scale step and in
00:17:45.280 this context it's free some of my
00:17:47.600 favorite things in all of music are
00:17:49.919 these falling or rising commas in chords
00:17:52.400 if i play something like this here you
00:17:54.240 see let me just go ahead and create let
00:17:56.320 me just go ahead and create a little um
00:17:58.720 a little sound for us i'll show you what
00:18:00.000 i mean by some of these commas being
00:18:01.760 very useful
00:18:02.960 so uh oftentimes if we think about
00:18:05.039 trying to avoid commas or simplify and
00:18:07.120 reduce commas we will miss some really
00:18:10.000 beautiful sounds so for instance i'll
00:18:12.080 just use a pretty common one here i'll
00:18:14.080 just make a kind of an in-decimal minor
00:18:16.080 chord for us all
00:18:21.520 okay great now i'm going to go ahead and
00:18:23.200 add an 11
00:18:27.200 and then now i could say how about this
00:18:34.720 and now we have this gorgeous falling
00:18:36.400 comma between 30 to 59 so if i isolate
00:18:39.120 it as just a single interval we end up
00:18:41.039 with this falling octave comma at 11
00:18:44.080 70 cents
00:18:46.880 and these are gorgeous and if you're in
00:18:48.799 a traditional just intonation approach
00:18:50.559 they're pretty much gone you pretty much
00:18:52.640 delete them if you're tempering
00:18:53.919 something qualities like this are they
00:18:55.840 just disappear and so one of the big
00:18:58.320 benefits to me about using harmonic
00:18:59.919 scale series and in particular an
00:19:01.679 approach where we don't view commas as
00:19:03.280 problematic is you get these really
00:19:05.120 beautiful shimmers and i feel that's
00:19:06.559 where a lot of the gorgeous shimmering
00:19:08.320 comes from i'll go ahead and rebuild
00:19:09.520 that chord so we just started out
00:19:11.360 basically with an in decimal 11 minor 11
00:19:14.160 or minor add four and we add the minor
00:19:16.000 seven on top of it and then we add a
00:19:17.600 falling comma eleven
00:19:25.360 we could do another thing here i'll add
00:19:26.559 a 9 on top of it as well
00:19:29.260 [Music]
00:19:31.200 and now i'll add a falling comma from
00:19:32.640 this 9 so if the 9 is the 50th harmonic
00:19:34.880 we can do a following comma quite easily
00:19:36.640 with 99 and now we have double falling
00:19:39.440 commas
00:19:48.960 gorgeous
00:19:58.400 so i don't know why we'd ever want to
00:20:00.000 get rid of those and i don't so i keep
00:20:02.880 them in my music and i try to embrace
00:20:04.720 them wherever i can in fact my piano
00:20:07.120 right now has commas tuned all over it
00:20:08.960 like that and so i can play these
00:20:10.559 gorgeous chords and when i go to hit an
00:20:12.080 octave or when i go to hit some other
00:20:13.919 thing we get these shimmery little comma
00:20:15.520 chords and they're just absolutely
00:20:17.600 gorgeous someone says oh wow it's
00:20:19.679 falling and suspended in midair at the
00:20:21.520 same time i completely agree they have
00:20:23.600 so much movement and so much animation
00:20:25.520 and they're just so incredible so why do
00:20:28.000 we get rid of them in fact we kind of
00:20:30.000 have an entire system of music theory
00:20:32.080 which the whole point of it is to
00:20:34.400 solve commas you know which is fine i'm
00:20:36.640 not trying to dig on it or maybe i am
00:20:38.480 but you know that's just not what i like
00:20:40.400 to hear personally um i like to find
00:20:42.559 these small commas and when you think
00:20:43.760 about harmonic scale segments and really
00:20:45.440 what a comma is it's literally just a
00:20:48.400 scale step you know we don't treat
00:20:50.880 scale steps any different in other
00:20:52.480 systems but since they're irregular and
00:20:54.159 they get smaller and smaller in the
00:20:55.360 harmonic series we traditionally have
00:20:57.440 kept them separate
00:20:58.960 but i don't i just view them as a
00:21:00.720 natural scale step so there we go
00:21:03.039 there's that perspective
00:21:05.840 so now we have um we solve commas by
00:21:08.799 introducing sure sure
00:21:10.799 so there's three so first off let me go
00:21:12.799 ahead we're going over this list of nine
00:21:14.880 key differences between a primordial
00:21:16.559 approach and a typical justin's needed
00:21:18.720 traditional approach so one in vertical
00:21:21.039 invertible equivalence is commonly
00:21:22.799 assumed we do not assume invertible
00:21:24.960 equivalence here in prime modality
00:21:27.360 it's functional and it's interesting to
00:21:29.200 apply and sometimes useful but i don't
00:21:32.159 really assume it equivalent in my heart
00:21:34.880 of hearts so to speak two we have a
00:21:37.919 preference towards scales with high
00:21:39.520 regularity in traditional sort of music
00:21:42.000 theory and that makes a lot of sense all
00:21:43.600 of our music systems come from highly
00:21:45.120 regular scales for the most part except
00:21:46.960 for some of the well-tempered stuff back
00:21:49.039 then
00:21:50.000 but in prime modality that bias is gone
00:21:52.720 we can make more regular forms by using
00:21:55.280 nudgies but at the same time we cannot
00:21:58.000 and we can just play in irregular forms
00:22:00.320 and those are totally fine 12 nedgies
00:22:02.880 are inherently irregular or sort of any
00:22:05.840 negi has some inherent irregularity in
00:22:08.240 it so you know if i'm playing in a
00:22:10.159 tuning system like this kind of quality
00:22:12.400 here
00:22:14.800 [Music]
00:22:29.039 there's a lot of irregularity there
00:22:31.200 but to me it's the irregularity that
00:22:32.799 makes it beautiful
00:22:34.480 you know
00:22:35.080 [Music]
00:22:39.440 it makes it so that each scale step
00:22:41.240 [Music]
00:22:50.240 it makes it so that each scale step kind
00:22:51.760 of has its own internal melody going on
00:22:54.000 like if i play through the scale itself
00:22:55.440 you can hear
00:22:55.900 [Music]
00:22:58.960 things are slightly bigger slightly
00:23:01.200 smaller the whole way and to me when i'm
00:23:03.280 playing chords it feels like
00:23:05.120 there's like this
00:23:06.960 melody that's going on between every
00:23:08.880 note
00:23:11.280 and that's where a lot of the beauty
00:23:12.559 comes from
00:23:15.039 and the harmonic series has that
00:23:16.400 naturally going on so we're just
00:23:18.320 capturing an essence of that and then
00:23:20.240 putting it in a constant structure form
00:23:22.559 that allows us more easy access
00:23:25.280 so like right now i've got it in a
00:23:26.480 12-note
00:23:27.919 constant structure form but i'm still
00:23:29.440 able to
00:23:30.640 get some of the ooh that's gorgeous
00:23:33.440 oh my gosh
00:23:36.890 [Music]
00:23:41.440 and everything just feels like kind of
00:23:42.640 like it's being micro voice led around
00:23:44.640 the entire system so
00:23:47.039 there is that
00:23:48.400 let's see here so and then we said you
00:23:49.919 know commas are traditionally avoided
00:23:51.600 and here they are not okay number four
00:23:54.320 traditional ji due to its emphasis on
00:23:56.480 the lattice places a somewhat
00:23:58.320 superstitious perspective on high primes
00:24:00.960 as each successive prime added into the
00:24:03.120 lattice multiplies the complexity of the
00:24:05.760 pitch space in primodality each
00:24:08.240 successive prime just
00:24:10.400 naturally shows up in the scale and it
00:24:12.400 requires no significant increase in
00:24:14.720 dimensionality to be considered so you
00:24:17.679 know it's it's interesting i've posted a
00:24:19.679 lot about this on microtonal communities
00:24:21.440 and stuff but there's always this
00:24:23.039 strange traditional consideration where
00:24:25.760 people are like oh whoa 13 limit i don't
00:24:28.240 think i can hear that or 17 limit whoa
00:24:31.039 that's really high or 31 limit well
00:24:34.159 no because they're just scale steps
00:24:36.240 they're not each prime that we enter in
00:24:38.720 a scale does not introduce or multiply
00:24:42.000 the complexity it only multiplies the
00:24:44.159 complexity if what we're trying to do is
00:24:45.840 form a lattice out of it and then we
00:24:47.600 have to factor it in as a generator
00:24:49.840 dimension but in this case we don't it's
00:24:52.080 just a thing you know it's a simple
00:24:54.000 little scale and it's a closed structure
00:24:56.720 so um
00:24:58.320 for that reason we can free primes up
00:25:00.799 like you know i often use the 61st
00:25:03.200 harmonic it's one of my favorite major
00:25:04.960 seventh qualities and i have gotten
00:25:07.200 youtube comments or people commenting
00:25:09.520 well why do you choose to use the 61st
00:25:11.520 harmonic it's like so out of
00:25:13.440 organization of the rest of the
00:25:14.799 structure but to me it's not out of
00:25:16.159 organization of the structure it's very
00:25:18.080 important to the structure the 61st
00:25:19.919 harmonic frees up a lot of other things
00:25:22.080 and same with something like the 43rd
00:25:24.240 harmonic when people talk about you know
00:25:26.480 people have seen me use the 43rd
00:25:27.760 harmonic and then i get questions oh 43
00:25:29.840 limit
00:25:30.720 no the 43rd harmonic to me is an
00:25:32.960 incredible pillar that unifies a lot of
00:25:35.120 high primes together on over two if we
00:25:38.320 don't have the 43rd we can't really
00:25:40.720 sound over 19. we can't really sound
00:25:42.960 over 17. 43rd is the major third
00:25:46.080 primordially of of the 17. otherwise we
00:25:49.520 end up with a sub major third on 17
00:25:52.080 which is fine that's it's more primotal
00:25:53.840 third but they don't seem like they
00:25:56.720 multiply complexity they seem like they
00:25:59.200 unify things together and they're
00:26:00.799 important pillars of structure in the
00:26:02.880 harmonic series and so i don't treat
00:26:04.960 them as more
00:26:06.559 more superstitious or different i just
00:26:08.880 look at them kind of similar as i do
00:26:10.559 other things now
00:26:12.799 we'll get to that in a second so that's
00:26:14.000 number four so i'll go ahead over these
00:26:15.919 again invertible equivalence not assumed
00:26:18.720 here
00:26:19.520 we don't really care about regularity of
00:26:21.679 scales that's certainly a benefit and we
00:26:23.520 can use nedgies to impose regularity but
00:26:26.000 we don't really care that much about it
00:26:27.840 three commas are embraced there's no
00:26:30.080 such thing really as a problematic comma
00:26:32.480 it's just a scale step and it can be
00:26:34.240 pushed and played with whenever you want
00:26:36.840 um we don't treat primes superstitiously
00:26:40.559 in terms of them thinking about being
00:26:42.559 more complex or less complex if anything
00:26:45.279 the only complexity that i really care
00:26:46.960 about is integer limit or integer
00:26:48.720 complexity because you know the further
00:26:50.640 the integers go definitely things become
00:26:52.720 a little more hard to to separate
00:26:55.919 4.5 because we have surrendered the
00:26:58.400 lattice prime limit is meaningless prime
00:27:01.360 limit is only meaningful if you are
00:27:03.279 trying to create some structure that is
00:27:05.279 closed in its ability to then generate
00:27:07.840 other things prime limit doesn't really
00:27:10.000 mean anything here because we're not
00:27:11.600 trying to create lattices um so there's
00:27:14.640 that
00:27:15.679 five the sound of the prime in prime
00:27:17.679 modality is not the prime relative to
00:27:20.399 everything else but instead everything
00:27:23.039 else relative to the prime this is
00:27:25.760 really important so in traditional with
00:27:28.399 with invertible equivalence being
00:27:29.760 assumed in traditional just intonation
00:27:31.919 people will say that x over p is
00:27:33.760 equivalent to p over x
00:27:35.919 saying like you know for instance
00:27:37.840 9 against 11 is an undecimal quality and
00:27:41.039 11 against 14 is an undecimal quality
00:27:45.200 things in traditional justin's nation
00:27:46.799 are named based on whatever the highest
00:27:48.399 prime is
00:27:49.440 we don't do that in prime modality
00:27:51.760 we name everything what the
00:27:53.919 reducible prime denominator is so 14
00:27:57.200 over 17 that's a septal interval 11 over
00:28:01.200 13 that is undecimal 11 over 12. that is
00:28:04.399 undecimal 11 over 16 that is undecimal
00:28:08.000 okay 8 over 11 or excuse me 11 over 8
00:28:12.240 that's harmonic that is not in decimal
00:28:14.480 that is a quality coming out of the over
00:28:16.880 two family
00:28:18.320 let's see here so there's that um
00:28:20.880 this is a big issue i guess because we
00:28:24.880 pretty much have a cultural consensus on
00:28:26.640 naming intervals based on their highest
00:28:28.159 primes
00:28:29.120 and i'm not going to do that i don't
00:28:30.799 really like that so i'm going to keep
00:28:33.039 saying it my way and if you ever hear me
00:28:34.640 saying um decimal or tridecimal or
00:28:36.399 septum decimal or novum decimal i'm
00:28:38.399 always referring to the thing over the
00:28:40.799 prime i'm never referring to
00:28:43.279 the everything relating back to the
00:28:45.039 prime and this is because we're treating
00:28:46.240 the prime of the nexus
00:28:48.320 and we don't treat the introduction of a
00:28:50.640 new prime as a new dimension of
00:28:52.320 complexity or a new special quality it
00:28:55.039 just is in the segment of whatever we
00:28:57.600 started on so it's treated sort of
00:29:00.399 non-specially
00:29:01.679 number six consideration of virtual
00:29:04.799 fundamental as not a phenomenon in which
00:29:07.760 all things reduce to a singular virtual
00:29:10.000 fundamental but instead a gradient in
00:29:12.880 which pro in which proximity towards a
00:29:15.440 meta virtual fundamental and the true
00:29:17.919 fundamental can be shifted across so the
00:29:21.279 virtual fundamental is this idea that
00:29:23.679 let's say we play some complex high
00:29:25.679 prime thing we can't really feel fused
00:29:28.320 or tonicized with that because it's
00:29:30.320 actually suggesting some infrasonic sort
00:29:32.960 of virtual fundamental virtual
00:29:34.399 fundamental is objectively real and true
00:29:36.960 we experience virtual fundamentals but
00:29:39.520 when i think about primes in primodality
00:29:42.320 you know if we start on 13 the only
00:29:44.880 thing that
00:29:46.159 that is
00:29:47.039 that's divisible by is one and itself so
00:29:50.559 i treat every prime number as a new one
00:29:54.399 it is the new beginning of a harmonic
00:29:56.720 series and let's say we went 11 22 33 44
00:30:01.760 55 66 77 well now we have just developed
00:30:06.399 a new meta-harmonic series
00:30:08.559 we are actually fleshing out an entire
00:30:10.399 standalone harmonic series inside of our
00:30:12.960 harmonic series and i think if you were
00:30:14.559 to hear 11 against 22 against 33 against
00:30:16.880 44 against 55 against 66 and 77 you
00:30:19.919 would hear the 11 taking over the
00:30:22.799 virtual fundamental behavior and so to
00:30:25.279 me there is a bit of a gradient between
00:30:27.679 the original virtual fundamental and how
00:30:30.399 these primes become tonicized so we
00:30:32.640 actually have this sort of fluid
00:30:34.159 continuum or this fluid space where we
00:30:36.000 can push away from the true fundamental
00:30:38.080 and emphasize a virtual fundamental or
00:30:41.120 rely more on the the genuine true fund
00:30:44.000 true virtual fundamental so
00:30:47.200 i typically
00:30:48.960 see the virtual fundamental thing a
00:30:50.399 little different i remember when i first
00:30:51.600 started talking about prime modality
00:30:53.200 people often made claims saying things
00:30:55.039 like oh well you can't ever tonicize
00:30:57.120 those chords because you know they're
00:30:58.880 overtones and so they're going to be
00:31:00.399 suggesting some unified virtual
00:31:02.080 fundamental much lower and yeah i agree
00:31:04.159 with that if it's in the first octave
00:31:06.240 but when you start to get into the
00:31:07.440 second octave of a prime or the third
00:31:09.679 octave of a prime now you have these
00:31:12.399 foundational pillars of tonality we have
00:31:15.200 a perfect fifth we have the octave we
00:31:17.360 can get the 5 4 we can get the 7 4 and
00:31:20.159 these can all be superimposed next to
00:31:23.120 these primal colors so that we can still
00:31:25.600 have the color of the given prime but we
00:31:27.679 can also still have these like virtual
00:31:29.279 fundamentally
00:31:30.559 suggesting intervals next to it and so
00:31:32.960 that allows us to have this continuum or
00:31:35.039 spectrum of proximity towards a true
00:31:37.519 virtual fundamental and a meta virtual
00:31:40.240 fundamental so in many ways prime
00:31:42.080 modality treats each harmonic or prime
00:31:44.640 harmonic as the beginning of a potential
00:31:47.200 meta series and then what we do with
00:31:49.279 primodality is we use these
00:31:52.399 we use these sort of um
00:31:54.720 prime points as
00:31:56.720 leaning into meta series or leaning away
00:31:59.039 so there's something that's very
00:32:00.159 different about this approach in
00:32:01.519 traditional approaches
00:32:03.279 number seven this is really important
00:32:06.320 just noticeable difference that is to
00:32:08.480 say the limits of perceivable pitch
00:32:10.960 difference
00:32:12.080 becomes increasingly meaningless
00:32:14.399 because subtle differences that may
00:32:16.080 exist below the accepted just noticeable
00:32:18.960 difference add up across the gestalt of
00:32:22.000 the whole family in other words a single
00:32:25.600 dyad on its own may be meaningless and
00:32:28.640 may not convey the sound of a prime
00:32:30.880 oftentimes people get confused with this
00:32:32.399 primordial stuff because they'll you
00:32:33.760 know they'll play like the septum
00:32:34.960 decimal minor third which is like 277
00:32:37.279 cents and then they'll play the
00:32:38.559 undecimal minor third which is like 289
00:32:40.320 and they're like well these are pretty
00:32:41.679 close these sound similar yeah maybe
00:32:44.720 single diads on their own don't express
00:32:47.440 the quality of the prime but when it is
00:32:49.600 joined in chorus by the other members
00:32:51.679 from its family a distinct picture of
00:32:54.480 modal identity emerges this is what we
00:32:56.880 mean by the gestalt the whole is greater
00:32:59.519 than the sum of its parts so we don't
00:33:02.000 care about the small differences that
00:33:04.080 are changed between dyads we care about
00:33:06.240 the small differences that are contained
00:33:07.840 within the entire unit and it is those
00:33:10.159 small differences adding up that create
00:33:12.559 these emergent psychoacoustic phenomenon
00:33:14.960 that come out in primordial stuff if
00:33:17.120 you've listened to some of the piano
00:33:18.480 works that i've released um
00:33:20.399 you'll hear there's these timbral things
00:33:22.559 these little sparkling overtones these
00:33:24.720 whirling noises these kind of whistle
00:33:26.559 tones that emerge above everything and
00:33:28.880 that is because we are operating purely
00:33:31.440 harmonic um and the
00:33:34.320 so you know oftentimes people would say
00:33:35.440 well can't we just use that like
00:33:36.799 tempered version or can't we just use an
00:33:38.240 approximation of that i mean sure you
00:33:40.240 could for the dyad or sure you could
00:33:42.159 melodically but when you start to fuse
00:33:44.480 the entire thing together with all the
00:33:46.240 extra notes
00:33:47.679 no not really because then it doesn't
00:33:49.919 align it doesn't sort of have that
00:33:51.440 property to it anymore
00:33:53.519 very good so now number eight this is
00:33:56.480 really important for prime modality the
00:33:58.880 application of modal logic
00:34:01.760 but in a large scale through the
00:34:04.159 harmonic series so traditional
00:34:07.039 approaches we can't really get this with
00:34:09.440 but if we're thinking of the entire
00:34:10.800 harmonic series or let's just say the
00:34:12.560 first 128 harmonics to keep it simple
00:34:15.440 if we start to think in constant
00:34:17.199 structure forms we can start to observe
00:34:19.760 these modal relationships that start to
00:34:22.320 emerge like for instance people will
00:34:24.480 often try to force the fourth or the
00:34:27.119 four against three perfect fourth in
00:34:29.599 over two or over 32 and this is really
00:34:32.480 problematic for several reasons but you
00:34:35.280 know instead what i would like to
00:34:36.719 advance is something like the 43rd
00:34:38.480 harmonic is the kind of modal perfect
00:34:41.199 fourth of 32 and when we start to assume
00:34:44.639 this all of a sudden it creates these
00:34:46.560 other modal properties that are more
00:34:49.119 evident like over 17 is the flat 2 of
00:34:52.719 over 32 over 19 is the flat 3 of over 32
00:34:57.839 over 57 is the flat 7 of over 32 which
00:35:01.760 is the
00:35:02.720 perfect fifth of over 19. so now we
00:35:04.880 start to get this like consistent modal
00:35:06.880 logic like we would have if we're
00:35:08.160 playing on a piano but we can actually
00:35:10.160 see it manifesting in the harmonic
00:35:12.079 series at a large scale and of course
00:35:13.920 i'm just using a cs12 or a 12 note map
00:35:16.800 as a simple way to describe this
00:35:18.480 property because we all know 12 edo and
00:35:21.040 we all know how it functions so if you
00:35:22.800 have a minor third and we go up a
00:35:24.800 perfect fifth now we have a minor
00:35:26.800 seventh right well a lot of people who
00:35:29.359 have this strong emphasis on the over
00:35:31.599 two philosophies what they'll do is
00:35:33.680 they'll say oh our flat seven of over
00:35:36.240 two if we have a twelve note map has to
00:35:38.240 be the four against seven right because
00:35:40.480 that's very fundamental the harmonic
00:35:42.240 series but the problem is when you use
00:35:44.720 that four against seven you are now
00:35:46.800 precluding the 19th harmonic from being
00:35:50.000 a true minor third in the system because
00:35:52.400 what you're doing is you're going to
00:35:53.520 actually have this really really like 30
00:35:56.000 flat 40 cent flat 5th from your flat 3
00:35:58.640 to your flat 7. and if we're aware of
00:36:00.720 modal logic we really need to have our
00:36:02.880 mediant pillars having the ability to
00:36:04.560 support each other and reinforce each
00:36:06.240 other so in this way if we have the 43rd
00:36:08.880 now we have the 2 of 19. if we have the
00:36:11.440 19 then we can have the 57. um the 51
00:36:14.800 the 51st harmonic typically if you look
00:36:17.040 at traditional justification approaches
00:36:18.640 mapped on 12 notes they'll put the 13th
00:36:20.880 harmonic on flat 6. well that's a great
00:36:23.599 sound we do love that of course but if
00:36:25.839 you use the 51st harmonic
00:36:28.400 all of a sudden everything opens up now
00:36:30.560 we gain the 5 of our flat 2 which is the
00:36:33.280 17th harmonic because 17 times 3 is 51.
00:36:36.640 so we end up really fleshing out and
00:36:39.520 detailing more modal structure when we
00:36:42.000 allow ourselves to be more free with the
00:36:43.839 harmonic series and of course we're only
00:36:46.000 right now talking in the 5l2s or the 12
00:36:48.480 note mapping
00:36:49.680 constant structure but this modal logic
00:36:51.359 can be applied to other things like you
00:36:54.400 know over 31 ends up being the tetricot
00:36:57.200 second of over seven or the sort of um
00:37:01.440 so it's just all sorts of things you
00:37:03.839 know the flat 7 of 17 is the 60th
00:37:06.720 harmonic
00:37:08.000 and so on and so forth and if we don't
00:37:11.440 use the harmonic series in a larger way
00:37:13.760 and we don't free the primes the prime
00:37:16.880 harmonics
00:37:18.079 these internal modal logics of the
00:37:20.079 harmonic series will not reveal
00:37:22.400 the goal of all this is to eventually
00:37:24.160 understand enough connections to where
00:37:26.240 the first 128 or 256 or 512 harmonics
00:37:30.880 can be conceived of in totality and
00:37:33.359 musically useful moments between them
00:37:35.680 and connections reveal themselves a
00:37:38.240 limit-focused approach or
00:37:39.440 lattice-focused approach will
00:37:41.040 fundamentally never reveal these
00:37:42.480 connections and thus never fully free
00:37:44.720 the harmonic series of course the
00:37:46.400 lattice approach can make these
00:37:47.680 connections we can say oh we've got
00:37:49.680 fifths going in this connection and so
00:37:51.359 we could go here and then out of fifth
00:37:53.119 but to try to unify all the harmonic
00:37:55.119 series together it won't happen in that
00:37:56.800 approach because for us to use the 43rd
00:37:59.200 harmonic and for us to use the 61st
00:38:01.280 harmonic along with the fifth harmonic
00:38:03.280 and the 7th and the 11th and the 13th
00:38:05.119 and the 17th and the 19th and the 23rd
00:38:07.839 well we are going to be staring at an 8
00:38:10.320 dimensional lattice which i think some
00:38:12.720 mathematicians could could compute but
00:38:15.520 why do it that way when we can just more
00:38:17.200 simply play the harmonic series
00:38:20.720 so
00:38:21.440 in summary
00:38:22.640 these fundamentals
00:38:24.560 adoption of them
00:38:26.320 or movements toward them could be
00:38:28.240 described as primotalism
00:38:30.800 and i believe this is why a perspective
00:38:32.960 like this has not been advanced sooner
00:38:35.599 if you're looking at it through the lens
00:38:37.119 of traditional ji treatment it's kind of
00:38:39.599 impossible to see this perspective um
00:38:42.160 and you know what's really interesting
00:38:43.280 to me is
00:38:46.240 this really isn't that like
00:38:48.800 novel to me this was the most obvious
00:38:51.040 way to organize the harmonic series i
00:38:53.359 started playing with the harmonic series
00:38:54.720 and very quickly realized that when you
00:38:56.720 stack above a prime you get all unique
00:38:58.560 material stack above a prime octave you
00:39:00.800 get all unique material except the fifth
00:39:02.880 and the octave stack again you get all
00:39:05.119 unique material except the four five six
00:39:07.760 seven and everything between all prime
00:39:09.599 colors and you know we also see this in
00:39:12.880 fort for analysis of pitch class sets
00:39:15.760 and tone rows you know we basically have
00:39:18.560 um allen ford's system of organization
00:39:21.200 for pc sets in 12 edo and those are all
00:39:24.320 organized by prime form
00:39:26.800 right we can take a pc set turn it into
00:39:29.520 prime order and that tells us the most
00:39:31.520 sort of reduced and simplified version
00:39:33.680 of it but for some reason we haven't
00:39:35.359 been doing this with with the harmonic
00:39:37.119 series we've been doing the opposite
00:39:38.800 we've been comparing and sorting
00:39:40.640 everything around compositeness instead
00:39:43.359 of primedness which is very strange
00:39:45.040 because then we're not really seeing the
00:39:47.040 thing at its most
00:39:49.680 sort of
00:39:50.640 foundational point
00:39:53.040 ah
00:39:54.079 okay
00:39:55.680 there we go everyone so that's the
00:39:57.359 majority of what i wanted to talk about
00:39:59.359 today
00:40:00.240 um
00:40:01.119 i'll give some impressions on on
00:40:02.800 different primes so i think um
00:40:05.680 two harmonic
00:40:07.599 three triprimal
00:40:09.599 5 pencil
00:40:11.440 these are very much
00:40:12.960 structural pillars 2 and 3 are like
00:40:16.400 fundamental units of structure they do
00:40:19.200 generate their own sounds the further
00:40:20.640 you factor them higher but they're very
00:40:22.560 much elements of structure pencil is
00:40:26.240 where we pintle and septal five and
00:40:28.400 seven are very similar in that their
00:40:30.640 octaves do not have a lot of data
00:40:32.480 contained in them and when we start to
00:40:34.240 factor them we get obviously
00:40:35.680 increasingly more data but they behave
00:40:38.400 very similarly so to me pintle and
00:40:40.960 septal kind of exist in this middle
00:40:43.040 ground if we think about it like a sort
00:40:44.560 of map or a sort of
00:40:46.880 area
00:40:47.839 two and three are very small they
00:40:49.440 require lots of factorization to reach
00:40:52.079 new colors with and for that reason they
00:40:54.480 sort of operate like multiplying pillars
00:40:57.599 um five and seven these are an
00:40:59.680 interesting space they're kind of
00:41:01.920 too small
00:41:03.119 to really be like totally standalone
00:41:05.200 except for seven when it comes into the
00:41:06.720 second and third octave
00:41:08.240 um but they're extremely useful and
00:41:10.079 pintle is very gorgeous in fact i was
00:41:12.079 working on a piece in pencil ji recently
00:41:15.359 all over over 10 over 20 over 40. very
00:41:18.079 gorgeous stuff um
00:41:20.560 things start to change around 11
00:41:23.599 13
00:41:24.880 11 and 13 are the sweet spots this is
00:41:27.520 where you have enough material in your
00:41:30.000 first octave and enough material in your
00:41:32.240 second octave to where it's very easy to
00:41:34.240 navigate everything is completely
00:41:36.079 distinct and clear so those are probably
00:41:38.319 my favorites 17 and 19 start to expand a
00:41:41.680 lot and they're very very very useful
00:41:45.040 but they start to expand a bit much
00:41:47.280 especially in their second and third
00:41:48.720 octaves tom winspear says pentyl and
00:41:50.880 septim will make such gorgeous basic
00:41:52.720 pentatonics and heptatonic scales i
00:41:55.040 agree completely i was working on this
00:41:56.880 piece i'll go ahead and play it for
00:41:58.000 everyone here
00:41:59.200 here's some pintle sounds that i was
00:42:00.640 working with the other day
00:42:02.640 some pencil string qualities
00:42:04.640 um
00:42:05.839 so these are all over five
00:42:07.760 over five elements
00:42:09.440 here we go
00:42:12.000 i'm singing over five as well all this
00:42:13.920 is over five
00:42:16.300 [Music]
00:42:38.400 i'd see
00:42:41.040 you again
00:42:47.599 i'm lost
00:42:59.920 and also this this is all pencil
00:43:08.000 it's so gorgeous
00:43:09.520 like you said it makes a great diatonic
00:43:14.830 [Music]
00:43:25.180 [Laughter]
00:43:26.700 [Music]
00:43:37.040 these are some pencil sounds you know
00:43:38.880 one of my favorite things about pencil
00:43:40.640 is the acute fourth that it gets it has
00:43:42.800 a 519 cent fourth
00:43:49.200 i love it
00:43:52.050 [Music]
00:43:56.880 it's just so beautiful and that's the
00:43:58.560 thing if you're like
00:44:00.400 you would normally avoid that in a
00:44:01.680 traditional approach we'd say no we want
00:44:03.040 our fourth to be four three you know but
00:44:05.359 i don't want my fourth to be four three
00:44:06.960 all the time i want to be four three if
00:44:08.880 i'm in over three but if i'm you know
00:44:11.520 over 14 or over nine or whatever
00:44:14.560 i don't really want it to be three four
00:44:16.480 well over nine it wouldn't be too
00:44:18.000 problematic now uh here's another thing
00:44:21.200 this is over pencil
00:44:22.920 [Music]
00:44:49.119 that sample's out of tune though it's
00:44:50.560 kind of annoying
00:44:52.120 [Music]
00:45:11.520 and here's the septimal super fourth 528
00:45:16.000 pencil like five
00:45:20.560 see i love that take a listen to these
00:45:22.160 differences here's the 528 super fourth
00:45:30.000 here's the 519
00:45:34.800 oh you can't compare it different
00:45:35.920 octaves whatever uh and here's some
00:45:37.839 septimal colors this is a septal major
00:45:39.520 13 sharp 11 sharp 15.
00:45:45.359 over seven sounds so pretty
00:45:51.390 [Music]
00:45:53.060 [Laughter]
00:45:56.400 it's so gorgeous you know here's tri
00:45:59.280 decimal major 7 sharp 11 versus septimal
00:46:02.400 major 7 sharp 11 so the over 13 major 7
00:46:04.880 sharp 11 first the and this is what i
00:46:06.720 mean about you know when we start to
00:46:08.000 think about the primes as like color
00:46:09.440 families then we can take these
00:46:10.960 generalized ideas of chords or mos
00:46:13.200 structures or familiar scales and then
00:46:15.200 we can punch them through these color
00:46:16.640 palettes and then we end up working with
00:46:18.560 familiar qualities but we end up with a
00:46:20.319 vast
00:46:21.200 new swash of colors it's kind of like
00:46:23.440 you know if you're familiar with with
00:46:25.119 chord scale theory from jazz it's like
00:46:26.640 we can say there's a root we can say
00:46:28.400 there's a chord type and we can say
00:46:29.760 there's a voicing well now we can say
00:46:31.440 there's a root a prime color a chord
00:46:34.000 type and a voicing so it basically gives
00:46:36.480 us another dimension of color that we
00:46:38.000 get to inject in our sonorities so here
00:46:40.000 is the major 7 sharp 11 in over 13
00:46:42.319 versus over 7.
00:46:53.119 there's the septimal version
00:46:57.520 settle major seven is very lifted it's
00:46:59.359 like a super major
00:47:00.960 pinched kind of
00:47:02.560 it's very uh sort of orangey for me
00:47:05.280 it's more lifted yeah i don't like using
00:47:06.960 sine waves either to live in house army
00:47:08.480 harmony sounds that's another thing i
00:47:09.920 see a lot of people do i don't i don't
00:47:11.760 understand that at all that was the saw
00:47:13.280 way filtered
00:47:19.280 this is a septimal minor seven add four
00:47:21.599 pork nine falling comma nine so i use
00:47:24.240 like pork nine to refer to like this
00:47:25.680 hundred and sixty two hundred and sixty
00:47:27.760 seven cent flat nine thing um so it's
00:47:31.280 like a there's like a minor seven add
00:47:32.800 four with like a pseudo half flat nine
00:47:35.040 with a falling comma nine
00:47:37.630 [Music]
00:47:47.800 [Applause]
00:47:52.920 [Music]
00:47:56.960 huh
00:48:01.080 [Applause]
00:48:01.110 [Music]
00:48:07.360 [Applause]
00:48:12.850 [Music]
00:48:19.359 you will never get these cords if you
00:48:20.960 care about prime limit
00:48:22.720 that's kind of that's kind of the sad
00:48:24.640 part of it you know um because i mean
00:48:26.880 that would have been like a 30 or no
00:48:28.880 that would have been like a
00:48:30.480 a 37 limit uh 31 it's got 37 it's got 31
00:48:35.359 it's got
00:48:36.480 you know tons of other things right so
00:48:39.200 there's literally no way that you would
00:48:40.640 ever get that if you're doing prime
00:48:42.000 limit unless you somehow decide to land
00:48:44.160 on some part of the lattice that
00:48:45.599 approximates this i don't know so this
00:48:47.599 is why we do it this way uh let's see
00:48:49.440 here now um
00:48:52.160 i've got some other comparisons here for
00:48:53.680 you check this out um i've got some
00:48:56.559 comparisons here i think you'll like
00:48:58.000 damian clark you said these direct
00:48:59.200 comparisons are really helpful reminds
00:49:00.960 me of how the edo edo yes exactly damian
00:49:03.520 clark like you can take an idea of a
00:49:05.200 major seven right and then you can
00:49:06.640 render it through multiple edos and hear
00:49:08.480 the shades of color this is the exact
00:49:10.559 same thing but only it's harmonic
00:49:12.160 segment colors organized by primacy and
00:49:14.880 it allows us to sort of add another
00:49:16.319 dimension of color to all the chord
00:49:18.480 types here's an example of that so all
00:49:20.480 of these are going to be minor 11's okay
00:49:24.079 i want to make sure i got this right
00:49:26.800 okay all of these are going to be minor
00:49:28.720 11s all right but these are all going to
00:49:30.800 be different prime minor 11s first we're
00:49:33.440 going to start with undecimal
00:49:36.240 hold on let me make this more
00:49:38.000 lively i want to make it so um
00:49:40.240 so it's velocity sensitive so i can
00:49:41.760 voice them better
00:49:45.599 hold on one second
00:49:49.200 okay there's that and let me also attach
00:49:50.720 the velocity sensitivity to the to the
00:49:53.040 filter
00:49:59.359 okay so here we go we're going to look
00:50:01.200 at minor elevens on
00:50:04.160 one two three four
00:50:06.640 five six seven eight nine
00:50:10.079 we're gonna listen to nine different
00:50:12.160 prime families all rendering minor 11.
00:50:15.119 let's go ahead and take a listen so
00:50:16.480 first off we have undecimal
00:50:26.740 [Music]
00:50:30.880 now try decimal
00:50:40.720 maybe better if i programmed these hold
00:50:42.480 on i'm not vibing on that timber either
00:50:44.400 one second
00:50:49.040 had the softest little bit of phase
00:50:52.079 oh you guys won't be able to hear that
00:50:53.200 face because it's mono isn't it
00:50:55.440 huh
00:50:56.559 sucks for you all
00:50:58.000 let me add just a little bit of reverb
00:50:59.680 too you know that's another thing people
00:51:01.280 are always like oh you use ji but use
00:51:02.720 lots of reverb and detune your stuff
00:51:04.240 well yeah the center point is still ji
00:51:06.400 though and that's what matters
00:51:08.480 okay here we go so undecimal first
00:51:15.520 try decimal
00:51:16.700 [Music]
00:51:19.920 spreads out
00:51:21.760 septum decimal
00:51:22.780 [Music]
00:51:26.240 gorgeous
00:51:27.599 november
00:51:28.570 [Music]
00:51:33.839 i love that it's got that that kind of
00:51:35.680 lifted
00:51:36.450 [Music]
00:51:46.079 so that was me going back and forth
00:51:47.359 between the over 19 minor 11 and the
00:51:49.680 over 17 minor 11. i agree when decimal
00:51:53.119 is best girl i appreciate that and
00:51:55.200 definitely my waifu okay
00:51:56.920 [Music]
00:51:58.160 let's just compare minor thirds here's
00:51:59.520 the one decimal minor third
00:52:02.960 oops that's 289
00:52:08.319 here's tridecimal at 304
00:52:09.940 [Music]
00:52:13.680 here's 281 septum decimal
00:52:24.880 330 it's a super minor kind of energy
00:52:28.079 to me this this minor third always
00:52:30.079 sounds very paranormal so i would
00:52:32.319 describe it okay and then we got 277
00:52:36.960 oh very close to
00:52:39.839 close to this
00:52:42.310 [Music]
00:52:47.760 close but once again it's not about
00:52:49.680 diods right when i add the entire
00:52:51.200 structure in
00:52:52.150 [Music]
00:52:55.200 versus
00:52:56.220 [Music]
00:52:59.520 very different energy so that was the um
00:53:02.000 the that was the
00:53:03.440 vice minor 11 the over 23.
00:53:05.600 [Music]
00:53:07.760 it's actually very similar to 12 video
00:53:09.760 except a little darker okay and then
00:53:12.000 this is the ultra
00:53:13.440 ultra harmonic this is like over 32 or
00:53:15.440 whatever over 16 so this one's going to
00:53:17.200 fuse really hard
00:53:18.690 [Music]
00:53:24.240 here how locked in that is but once
00:53:26.079 again that's what you get if you like
00:53:28.559 are focusing on
00:53:30.480 this lower complexity ji stuff you know
00:53:32.640 i mean that still has the 19th harmonic
00:53:34.079 in it but that's what you get and i mean
00:53:36.000 that's not bad but i mean it almost
00:53:37.440 fuses too much
00:53:39.280 out of all of those to me that one had
00:53:40.720 the least amount of color
00:53:42.330 [Music]
00:53:43.920 sounds good but compared to like
00:53:47.599 i'd rather have that one any day of the
00:53:49.119 week you know so i like to use the
00:53:51.440 simpler colors as a way to fuse
00:53:53.839 everything
00:53:55.200 not yet electro flame but i will
00:53:56.800 definitely talk about that at some point
00:53:58.240 maybe not the stream we're just talking
00:53:59.599 about prime modality in general but now
00:54:01.280 here's pencil
00:54:02.310 [Music]
00:54:07.839 absolutely gorgeous and now here's
00:54:09.839 compound this is over 18 okay compound
00:54:12.559 like i said is less distinct than other
00:54:14.000 things but it's still cool
00:54:18.880 so here i'm going to compare all these
00:54:20.160 back to back so you can hear them
00:54:22.720 easier because i can only play so many
00:54:24.640 notes at once okay so here we go we're
00:54:26.800 going to say i'm starting to get sweaty
00:54:28.800 too okay let's see all this music theory
00:54:31.280 oh my camera went out one second this
00:54:33.200 would be a great time for me to change
00:54:34.400 my battery
00:54:35.760 like my battery not my camera's battery
00:54:37.440 but my like my my cyborg battery one
00:54:39.440 second
00:54:54.720 okay
00:54:56.160 i'm gonna turn no i think the fan will
00:54:57.760 be too loud i wanna keep the audio
00:54:59.440 quality
00:55:02.720 y'all i am so hot and sweaty right now
00:55:05.599 because i turn my ac off to teach
00:55:12.160 okay now let us continue with our
00:55:14.559 journeys of the harmonics series
00:55:17.200 okay now
00:55:19.440 we were just now looking at this
00:55:22.240 so we're going to say undecimal try
00:55:24.400 decimal so 11 and then 13.
00:55:30.960 and then we're going to say i think we
00:55:32.160 have uh that comes after that and i
00:55:33.920 forget what order these are in so um
00:55:35.760 decimal tridecimal septum decimal
00:55:37.760 someone typed in chat for me um type and
00:55:40.000 chat this type 11
00:55:42.000 then dash 13 and then dash and then 17
00:55:47.680 and then dash
00:55:49.200 19
00:55:50.480 dash 23
00:55:52.799 dash
00:55:54.240 16 or 2 if you want
00:55:56.640 dash 5
00:55:59.119 dash
00:56:00.480 18 18-37
00:56:04.160 that's going to be the order of these
00:56:05.599 and if someone listened to me and did
00:56:07.119 that um
00:56:08.559 poggers that's all i'll have to say
00:56:10.000 about that so let's see i think that was
00:56:12.079 11 13. thank you teresa hey oh my gosh
00:56:16.000 you all did look at you you're all such
00:56:17.520 great listeners thank you
00:56:19.119 gosh i'm blessed blessed be okay that's
00:56:22.240 so sweet okay so now what we're going to
00:56:23.760 do is i'm going to play all these chords
00:56:24.880 at once or i'm not going to play all
00:56:25.760 these at once but so we have one two
00:56:27.680 three four five six seven eight
00:56:30.880 nine let's go ahead and listen to all
00:56:32.079 these so each successive chord is this
00:56:34.720 pattern okay so let's take a listen
00:56:38.079 13 or excuse me 11
00:56:40.880 13.
00:56:43.150 [Music]
00:56:51.440 now i kind of baited you all i think the
00:56:52.880 rhythm changed there so let me fix that
00:56:54.960 a little rhythm thing there yeah i'm not
00:56:57.599 very good at numbers you guys might
00:56:59.040 think i'm like oh wow like so much
00:57:00.559 number so i'm not very good at numbers
00:57:02.880 i'm good at sounds and so i just focus
00:57:05.040 on them as sounds and then i wouldn't
00:57:06.319 have even figured all the stuff out
00:57:07.760 about about the numbers if i just wasn't
00:57:09.520 listening to the sound so yeah i'm not
00:57:11.440 really a number person although i think
00:57:13.040 i could be if i if i learned math but i
00:57:15.520 i was i'm very bad eyesight terrible
00:57:18.160 eyesight and i was seated in the back of
00:57:20.000 a math class when i was um
00:57:22.079 when i was sixth grade or seventh grader
00:57:23.920 and because of that i couldn't see what
00:57:25.119 was on the board and then i ended up
00:57:26.079 falling behind in math and i failed like
00:57:27.520 algebra one like three times so
00:57:29.599 definitely not a math person okay let's
00:57:31.760 see here i mean i am intuitively but not
00:57:34.240 uh yes oh my god this is live indeed and
00:57:36.880 we've gone through a lot so there's a
00:57:38.799 lot to catch up on if you watch this in
00:57:40.319 the past okay so here we go i'm going to
00:57:42.319 play all these chords once again
00:57:44.480 and we're going to listen to how they
00:57:46.000 all sound so 11 13 17 19 you can just
00:57:49.440 watch as they scroll by and you can hear
00:57:50.960 the different qualities between them
00:58:03.760 cool i like how the 37's so shimmery
00:58:07.040 it's because it doesn't have a perfect
00:58:08.160 fifth right because that's the only one
00:58:09.359 out of all of them that stayed within
00:58:11.200 the first octave
00:58:13.760 now let's do this but arpeggiate them
00:58:15.200 because who cares about block chords
00:58:16.720 right that's just
00:58:18.079 lame stuff so we're gonna do now we're
00:58:20.160 gonna go ahead and stretch these a
00:58:21.599 little bit larger
00:58:23.440 large and in charge okay there we go
00:58:26.400 and now we're going to arpeggiate for
00:58:28.400 what i think i don't think music theory
00:58:29.440 has any useful relationship with
00:58:31.920 max uh i think there's a lot of people
00:58:33.680 in chat who will vehemently disagree
00:58:35.599 with you
00:58:36.799 i mean i agree and disagree i think
00:58:38.960 there's
00:58:40.480 inseparable connections to math but i
00:58:42.559 don't think that music is made for math
00:58:44.559 i think that music is made for ears and
00:58:46.240 so i think that you can absolutely gain
00:58:48.400 profound insights into music through
00:58:50.480 math but i don't necessarily think that
00:58:53.040 you can like
00:58:54.240 um
00:58:55.520 necessarily quantitatively describe
00:58:57.920 things that'll sound good so i like to
00:59:00.079 approach music with my ear and then see
00:59:02.400 what the numbers say afterwards i like
00:59:04.000 to justify i like to justify well i like
00:59:06.799 to take sound and then um see how the
00:59:09.040 numbers line instead of you know
00:59:10.799 creating sounds through the generation
00:59:12.319 of numbers but there's probably a
00:59:13.599 million people in chat who will
00:59:14.799 literally argue you until you are dead
00:59:17.520 um because there are many mathematicians
00:59:19.200 in the microtunnel community and they
00:59:20.960 have done some pretty cool things
00:59:22.480 although there is a uh there's a bit of
00:59:24.799 a problem you see and i don't mean to
00:59:26.799 poke fun at this or anything but
00:59:29.119 oftentimes if someone is brilliant in
00:59:31.200 mathematics
00:59:32.720 they are not brilliant in composition
00:59:35.359 right
00:59:36.400 composition is a different skill
00:59:40.160 than math and so there's a bit of a
00:59:42.160 problem which is where even if the
00:59:43.920 mathematician's theories are incredible
00:59:45.760 and amazing
00:59:49.440 oftentimes they can't really prove how
00:59:51.440 good their theories sound because they
00:59:53.119 don't really
00:59:54.319 have the compositional chops too whereas
00:59:56.799 me i mean i can you could give me a
00:59:58.960 bunch of random sounds and i'll turn
01:00:00.319 into something you know um because i'm a
01:00:02.559 composer i'm not a mathematician i'm a
01:00:04.720 composer first and foremost and so i
01:00:06.640 think that's a little bit of a problem
01:00:08.160 because i i really do believe that the
01:00:10.160 mathematicians have found incredible
01:00:11.680 things i mean irv wilson i don't know if
01:00:13.440 he was a mathematician but mos
01:00:15.440 moment of symmetry is probably okay so
01:00:18.240 so you'll okay good max you're my friend
01:00:20.000 you can argue those people if they come
01:00:21.280 and chat or whatever but you know i
01:00:22.880 think mos is probably one of the most
01:00:24.400 important music theories that has ever
01:00:26.559 been conceived of i think it's one of
01:00:28.400 the great ways to unify generalized
01:00:30.319 structures and and i think it's
01:00:32.079 incredibly powerful and i think that but
01:00:34.720 then again i mean i don't think irv
01:00:36.400 wilson found that strictly through math
01:00:38.400 right like he found that through
01:00:39.920 observing sounds and observing different
01:00:41.760 cultures and realizing that they had
01:00:43.599 certain note forms and structures that
01:00:45.520 were kind of general you know so
01:00:49.520 i don't know if we can necessarily say
01:00:50.880 imo like mos was fully formalized by
01:00:53.520 mathematicians but i don't know if we
01:00:55.200 can say that mos was invented or found
01:00:57.920 by mathematicians
01:00:59.520 because it seems to me like we had
01:01:01.200 technically found mos
01:01:03.200 for hundreds of years right
01:01:05.200 we know the diatonic 5l 2s that we play
01:01:07.440 in on our keyboards i mean that's mos
01:01:09.839 the diminished scales mos um kind of
01:01:12.720 technically sort of but so i don't well
01:01:15.359 i guess no it's not because it's all one
01:01:17.040 step size um i guess really 12 video
01:01:19.599 doesn't have a lot of good mos sizes or
01:01:22.000 mos forms but anyways i am i'm rambling
01:01:25.440 now so yeah um
01:01:28.480 herb wilson invented dude what was it
01:01:31.599 yeah mls are more of a geometric
01:01:33.200 observation you know interestingly i
01:01:35.200 independently started figuring out and
01:01:37.359 discovering mos on my own before i knew
01:01:39.839 what they were when i first came into
01:01:41.040 the micro tonal community i posted
01:01:42.240 screenshots of this too when i first
01:01:43.839 came to the micro tonal community i was
01:01:45.599 basically talking about generalized
01:01:47.520 structures generalized harmony and then
01:01:49.920 i was taking generalized harmony and
01:01:51.920 passes passing it through these prime
01:01:53.760 colors and it turns out the generalized
01:01:55.920 harmony is just basically mls so but i
01:01:58.319 would have never found it or formalized
01:02:00.640 it as elegantly because i don't have
01:02:02.240 those that skill set you know but it's
01:02:04.240 pretty obvious to see like i'm pretty
01:02:05.760 sure the first thing i ever did in 31
01:02:08.000 edo was i stacked up five plus five plus
01:02:10.640 five plus five plus five plus five plus
01:02:12.480 one which i guess is something like what
01:02:15.440 is it does anyone know what that is
01:02:16.799 called that quote temperament see i
01:02:18.799 think it was mos i don't really agree
01:02:20.400 with the tempered implications of that
01:02:22.000 mos but does anybody know what that what
01:02:23.920 that structure is called i'm gonna look
01:02:25.280 it up just because it's it's uh it's
01:02:27.119 annoying me now
01:02:28.520 31.80 is in wiki i'm sure it's listed on
01:02:31.440 the under that five uh so six fives and
01:02:34.799 one
01:02:35.599 that was the very first scale i ever
01:02:37.440 played in thirty one edl it was just so
01:02:39.200 obvious um
01:02:41.200 so people will call that luna hemi
01:02:43.440 thirds hemi schmidt
01:02:46.480 yeah i think i think i'm a pass on that
01:02:48.480 one
01:02:50.720 so um you know i also found quote
01:02:52.960 unquote mothra mossara very quickly i
01:02:56.720 also found new i mean i found all these
01:02:58.960 mosses inside of 31 within like one day
01:03:01.680 of playing in 31 because you know if
01:03:03.839 you've read um
01:03:06.319 if you've read um persecution vincent
01:03:08.559 percy caddy's 20th century harmony
01:03:10.799 he talks about these
01:03:12.559 you know i mean the idea of generative
01:03:14.799 interval class composition structures or
01:03:17.200 interval interval constructed core
01:03:18.880 that's not really new and to me it seems
01:03:21.680 like really mos stuff is just you know
01:03:24.079 an interval construction chord or a
01:03:25.920 composite interval chord where you only
01:03:27.680 have two interval sizes and it lands
01:03:29.039 back at the octave you know in fact one
01:03:31.119 of the first places i ever heard about
01:03:32.400 this was an interview with ben monder if
01:03:34.480 you guys don't know who ben monder is
01:03:36.000 incredible jazz guitarist probably one
01:03:38.240 of the most
01:03:40.240 incredible harmonists and harmony
01:03:42.400 thinkers i've ever heard you need to
01:03:44.559 listen to ben monder37 that tune is on
01:03:48.079 another level he's on another level
01:03:50.240 harmonically and i would do anything to
01:03:52.160 hear him play microtonality because i
01:03:54.559 can already tell he's he's like thinking
01:03:57.039 micro tonally but in 12 and he's kind of
01:03:59.440 in the 12th thing so deep but um you
01:04:02.079 know he even talks in this linear jazz
01:04:04.079 guitar playing master class video on
01:04:06.160 youtube it's got 59 60 000 views you
01:04:08.720 know he literally says let's see i'll
01:04:09.839 pull it up
01:04:11.039 flat five which will give us an e minor
01:04:13.680 seven five five eleven
01:04:16.240 he's cracked he's like musically cracked
01:04:18.400 out of his mind if you guys don't know
01:04:19.839 this dude gonna listen to him
01:04:21.680 maybe not now cause i want you to tune
01:04:22.799 into my stream of course but
01:04:24.839 um he's just he's cracked on another
01:04:27.359 level descend from the roots starting on
01:04:29.599 the side it's like it just it's just
01:04:31.119 this thing
01:04:33.039 and just plays amazing music turning on
01:04:35.039 the sixth
01:04:36.400 [Music]
01:04:38.559 anyways
01:04:39.680 somewhere in one of these videos though
01:04:40.960 he's like
01:04:41.920 he like talks about like extended
01:04:43.359 harmonies that you can do and at one
01:04:45.280 point he's like interval comp interval
01:04:47.760 construction chords second fourth second
01:04:50.000 fourth and and those if they fall on the
01:04:52.319 octave they're literally just
01:04:55.280 mosses so i don't know the whole mls
01:04:57.760 thing is really interesting i didn't
01:04:59.200 understand mos until i stopped kind of
01:05:01.920 trying to think of it in the way that
01:05:03.920 people
01:05:05.119 think i don't know it didn't make any
01:05:07.039 sense to me people the way that people
01:05:08.240 were describing mos to me until i
01:05:10.079 started thinking about them as chords
01:05:11.280 and then it makes perfect sense and now
01:05:12.559 the way that people normally describe
01:05:13.760 them makes perfect sense to me too i
01:05:15.280 don't know why people don't just say oh
01:05:16.799 an mos yeah it's where you take any step
01:05:18.880 size and you stack it and then you take
01:05:20.720 another step size and if you mix and
01:05:22.400 match those and they hit an octave
01:05:23.760 you've created an mos that makes it like
01:05:25.839 a lot easier also i think moses should
01:05:27.839 be taught visually on like a piano roll
01:05:29.440 or something because you can literally
01:05:30.960 see him if i draw a line on fl studio
01:05:33.440 like 31 notes up or whatever and then i
01:05:35.599 just stack things until they close like
01:05:37.599 congratulations you discovered
01:05:40.319 mos um let's see i'm trying to find that
01:05:43.200 here i think this is the master class
01:05:44.880 let's find it they're like short one
01:05:46.880 minute videos
01:05:55.970 [Music]
01:05:57.520 melodic minor scales and harmonic minor
01:06:00.000 scales major diminished diminished minor
01:06:05.119 he sounds so the fifth and the seventh
01:06:07.200 he sounds so bored with what i call a
01:06:09.599 mini bar double drop two and three
01:06:12.960 so reposition that's such a stretch i
01:06:14.799 don't know how i play stuff like that
01:06:16.000 first inversion
01:06:17.599 second scale
01:06:19.280 i can't i want to find it it's it's
01:06:21.280 somewhere two of them i clicked on i
01:06:22.640 haven't found it but you know he
01:06:24.079 basically is describing mos
01:06:26.079 okay let's see
01:06:27.920 double drop two and three his and he
01:06:29.359 stretches like
01:06:31.359 he's like oh and he's like cracked out
01:06:33.119 of his mind he's crazy um you gotta go
01:06:35.599 thanks for being epic it was lovely
01:06:36.880 having you here oh you know while i'm
01:06:38.640 here it's been over an hour i should
01:06:40.480 promote my my stuff if you want to
01:06:42.559 support my music i know i'm on my music
01:06:44.000 channel so if you just want to support
01:06:45.200 my music creation
01:06:46.720 throw a dollar on patreon throw three
01:06:49.520 dollars i don't care um but anything
01:06:51.920 helps even a dollar because you know
01:06:53.920 bigger number better person
01:06:56.240 more happiness um
01:06:58.400 i i'm joking but for real if you want to
01:07:00.799 support what i do musically or you want
01:07:02.319 to support the work i do with voice hop
01:07:04.319 on over to my patreon and check it out
01:07:06.319 um even a dollar you know that lets me
01:07:09.039 um
01:07:10.079 have better mental health
01:07:11.760 joking okay so there is a there is that
01:07:15.039 and um so now where was i at again um i
01:07:17.920 was about to play this so here we go uh
01:07:20.240 here are minor 11 chords arpeggiated in
01:07:23.440 these prime families so here they go
01:07:26.480 i'll make it a little slower too
01:07:28.330 [Music]
01:07:30.000 i hate this hamburger let me make it
01:07:31.440 more pleasant to listen to maybe a
01:07:32.880 triangle will be better
01:07:38.160 yeah much better okay here we go
01:07:43.480 [Music]
01:07:45.700 [Laughter]
01:07:47.660 [Music]
01:07:54.960 oh gorgeous
01:07:57.520 oh
01:08:03.760 that pencil one just hits so different
01:08:05.660 [Music]
01:08:08.880 oh gosh
01:08:10.559 isn't that wild
01:08:13.280 it just like feels like it's like going
01:08:14.720 up i don't know how to describe it it's
01:08:16.080 like
01:08:16.880 expanding
01:08:18.640 but yeah it's flatty too it's like dark
01:08:20.319 but expansive
01:08:23.040 here let me show you guys some cool
01:08:24.158 chords
01:08:25.040 uh so those anyways those are some
01:08:26.319 comparisons of different prime intervals
01:08:28.960 and stuff bigger mls bigger person yeah
01:08:32.000 dude i love that that's like one of my
01:08:33.198 favorite ludwig quotes ever bigger never
01:08:34.960 better person i think about that a lot
01:08:36.960 because it's easy to fall into that trap
01:08:38.238 as a content creator but you know you
01:08:40.000 have to separate your like worth as a
01:08:41.679 person from all that stuff otherwise
01:08:43.600 you'll just like go literally crazy
01:08:45.520 check this out i guarantee none of you
01:08:47.198 have heard a minor chord this extended
01:08:49.839 it'd be cool to collaborate with sevis
01:08:51.359 savage and i have talked and been in
01:08:52.880 voice chat together and
01:08:54.640 you know shot the the stuff
01:08:58.719 how about this
01:09:01.680 [Music]
01:09:08.719 this is a gigantic minor chord
01:09:15.279 i forget exactly how deep it's extended
01:09:16.880 but there's like some minor 23 or minor
01:09:19.120 24 thing or something 22 something
01:09:21.759 here's a super lydian so this is like
01:09:23.679 you know lydian on top of lydian uh as
01:09:26.319 the call your heads would call them
01:09:27.600 hyper mega super metal lydian or
01:09:29.120 whatever but this is it in just
01:09:30.399 intonation we don't want it in equal
01:09:32.158 temperament who cares about that
01:09:36.500 [Music]
01:09:46.520 [Music]
01:09:49.359 how about these giant cords
01:09:50.560 [Music]
01:09:57.390 [Applause]
01:10:00.400 these are all extended above the 20th
01:10:02.159 and they're all just in station
01:10:04.640 oh okay let's see here
01:10:09.440 oh this is a beautiful in case you guys
01:10:11.520 don't know the 5l3s mms is actually
01:10:13.760 really awesome you guys should check
01:10:14.880 that out um dylathian
01:10:17.840 minarian etc
01:10:20.080 this is gorgeous
01:10:25.790 [Applause]
01:10:26.720 [Music]
01:10:37.840 uh
01:10:45.190 [Music]
01:10:56.400 and this is a ji
01:10:58.800 this is a ji dailathian thing so uh this
01:11:02.400 was in um this is like a 5l3s tridecimal
01:11:06.960 thing so that would have been this that
01:11:08.960 would have been in this eighth note
01:11:10.159 scale here
01:11:11.600 and that's what you were just listening
01:11:12.880 to
01:11:18.640 here's another
01:11:19.760 example of that
01:11:25.180 [Music]
01:11:35.920 these scales don't have a perfect fifth
01:11:37.760 in fact they have like a 50 cent flat
01:11:40.000 fifth
01:11:41.040 and that's like the key defining feature
01:11:42.960 of it it's like you don't get a fifth
01:11:46.320 it was lovely having you here andrew
01:11:47.679 moore
01:11:51.440 there's more dilathian stuff
01:12:03.260 [Music]
01:12:06.640 i love that
01:12:08.850 [Music]
01:12:36.640 i'm using spitfire strings re-tuned into
01:12:39.679 ji
01:12:41.679 it's kind of i have to glitch it
01:12:43.679 they don't they don't allow themselves
01:12:45.120 to be re-tuned easily so i have to break
01:12:46.640 them and then re-tune them
01:12:52.159 here's the scale by the way so this is
01:12:54.080 it going up
01:13:02.640 wait i think it starts here
01:13:04.400 okay so this is the eight note scale
01:13:06.640 going up one note at a time
01:13:08.159 over root
01:13:09.760 there's our second
01:13:12.960 [Music]
01:13:41.679 all together
01:13:44.640 diatonic chords up
01:14:00.660 [Music]
01:14:06.320 so there's like the diatonic block
01:14:07.679 chords uh someone pacifist asks mos and
01:14:10.320 ji he uses harmonics as interval steps
01:14:12.880 question mark or does it quantize the
01:14:14.560 nearest harmonic compared to edo steps
01:14:16.880 yeah so there's kind of multiple ways
01:14:18.480 that you can do it um
01:14:21.360 so for instance what i like to do is i
01:14:23.280 like to use edo's and and use mos inside
01:14:26.400 of edos and then i'll find an edo form
01:14:29.280 that i like like for instance i really
01:14:31.199 like the 6l1s in 34 edo that's really
01:14:35.520 good this dylathian structure that i was
01:14:38.000 just playing i think this is based in 40
01:14:41.280 it's it's what is it i forget what it's
01:14:43.199 like it's sort of pre-images so i think
01:14:45.440 about a pre-image whether it's from a
01:14:46.880 linear timberman or from an edo or
01:14:49.120 whatever
01:14:50.239 and then i'll take that pre-image that i
01:14:52.640 aesthetically like and then i will find
01:14:55.360 a place in the harmonics series which
01:14:57.360 supports it and then that will become
01:14:59.600 like my like authentic rendering of that
01:15:01.760 given kind of mos right um so for
01:15:04.880 instance like with with with my 34
01:15:06.800 tetraco thing or i don't want to say
01:15:08.960 heterococcus i don't like the temper
01:15:10.239 implications of it anymore but with the
01:15:12.199 34edo 6l1 s thing
01:15:15.840 like i i looked really hard to find like
01:15:17.679 what the like truest ji expression of
01:15:19.920 that thing is and i found one that's
01:15:21.679 really accurate it's this
01:15:26.800 sounds so true to the 34 edo tetracon
01:15:30.480 but only it's ji
01:15:45.440 i hate to say tetragon
01:16:20.480 is that my classic pattern
01:16:23.600 good to know classic zia i've got some
01:16:25.360 trends huh yeah i'm a creature of habit
01:16:28.000 i only make what i love
01:16:30.880 okay so that's cool i like that this is
01:16:32.640 a 13 13-tone modal union uh taking that
01:16:35.360 term from enthar
01:16:36.800 um
01:16:37.600 you can use ji's interval and stack it
01:16:39.040 and then octave uses a pythagorean yeah
01:16:41.440 so though i get so that dilathian
01:16:43.840 pattern i'm trying to figure out what i
01:16:45.440 pre-imaged that off of i think i
01:16:47.360 pre-imaged it off of some 40 something
01:16:50.719 edo i forget what it was but anyways
01:16:52.880 i'll typically find some some mos sound
01:16:55.679 and edo i really really like and then
01:16:58.159 i'll go and look for where that is
01:17:00.239 supported inside the harmonic series so
01:17:03.040 in this case that dilathian or the 5l3s
01:17:06.560 first mode that actually happens to be
01:17:08.880 really well supported by
01:17:11.840 over 23 and over 26 so this means that
01:17:15.760 then i can kind of just sneak around so
01:17:18.159 if i'm working the harmonic series and
01:17:19.600 i'm using a segment that has 23 26 29 30
01:17:22.880 34 38 39 44 46 and now i instantly have
01:17:27.679 a vice a more tertial 5l3s or you know
01:17:31.040 it also has an inversion so i guess
01:17:32.400 minarian would be like on over 26. and
01:17:34.719 this is kind of what i meant about point
01:17:36.239 nine of my like tenants or sort of
01:17:38.560 pillars of prime modality is that modal
01:17:41.280 logic works in the harmonic series when
01:17:44.080 you use these constant structure
01:17:45.440 frameworks so if i use a for instance
01:17:48.320 ryonian
01:17:49.679 and my ryonian is on the the 28th
01:17:52.480 harmonic i'm naturally going to get
01:17:55.679 mixoryonian on the 31st harmonic so we
01:17:59.120 can actually see these like modal
01:18:00.560 implications for those of you who don't
01:18:02.000 know ryonian is like the the lydian
01:18:04.400 equivalent in tetracot or in the 6l 1s
01:18:08.560 and so then its second step if we're
01:18:10.320 comparing it to lydia would be mixo
01:18:12.080 ryonian or mixolydian as we would see in
01:18:14.080 5l2s so you know the same modal logic
01:18:17.760 applies to these structures and it makes
01:18:20.080 things a lot easier to navigate
01:18:22.400 and it shows you modal relationships
01:18:25.199 that you won't see otherwise and to me
01:18:27.840 that's the big value of prime modality
01:18:29.679 because after i see enough of these
01:18:31.920 relationships and consider enough of
01:18:33.520 these relationships then it's like boom
01:18:36.080 now i can freely move around the
01:18:37.440 harmonic series and understand you know
01:18:40.000 how these modes relate to each other and
01:18:41.440 which like which prime happens to go
01:18:43.760 where like for instance if we're
01:18:44.960 thinking about if we're thinking about
01:18:46.560 um ionian uh from 5l to s if we're
01:18:50.560 thinking of ionian as a pre-image and we
01:18:52.960 think about building that on the 32nd
01:18:55.199 harmonic or over two family
01:18:57.840 43rd 43 is gonna be our perfect fourth
01:19:02.239 and you know like i said earlier a lot
01:19:03.920 of people will try tooth and nail to
01:19:05.679 make four three
01:19:07.280 be the perfect fourth of over 2 but then
01:19:10.480 you end up compounding and then you're
01:19:11.760 not in over 2 anymore because over 2 is
01:19:13.679 not visible by 3 so we can't really have
01:19:16.640 a 4 3 in there unless we move to a
01:19:18.719 composite which is fine that's cool but
01:19:22.800 43 then ends up being like the natural
01:19:26.000 modal fourth of 32 unless you go way
01:19:28.719 higher and think i think from 128 above
01:19:31.840 that there's there's something a little
01:19:33.760 simpler or there's something more
01:19:34.719 complex it's closer to the 500 cent
01:19:37.520 fourth from uh 12 video ionian but 43
01:19:41.040 harmonic opens up so much that it
01:19:43.360 actually functions
01:19:45.120 regularly like the fourth would in 1280
01:19:48.960 so you know this is kind of what a lot
01:19:51.040 of these modal implications start to
01:19:52.960 create out of
01:19:55.040 oh i wasn't done earlier i kind of
01:19:56.800 should have said this at the beginning
01:19:57.840 but so i was talking about um
01:20:00.560 when i was thinking about
01:20:02.840 um
01:20:04.560 so i mentioned earlier two and three are
01:20:06.639 like
01:20:07.520 formal pillars
01:20:09.040 right and then i mentioned five and
01:20:10.880 seven are similar they're like halfway
01:20:13.440 halfway color families halfway pillars
01:20:15.760 but they can be both depending on how
01:20:17.520 far you factor
01:20:18.800 then i mentioned 11 and 13 are like a
01:20:20.480 sweet spot 17 and 19 are also a sweet
01:20:22.639 spot but a bit bigger i would consider
01:20:24.560 them like the micro tonal versions of 11
01:20:27.199 and 13 if you'll entertain that analogy
01:20:29.760 for now
01:20:30.719 um and then 23 is our next prime 23 is
01:20:34.560 actually very interesting um
01:20:37.040 it's probably the last prime where
01:20:39.440 things are very clean and also 23 has
01:20:43.440 tremendous similarities to 12 edo if
01:20:46.080 you're wanting something that sounds
01:20:47.360 like 1280 over 23 is gonna be your best
01:20:50.239 bet it pretty much hits the flat six
01:20:52.719 within like one cent it hits the major
01:20:54.719 third within like 1.4 cents um it hits a
01:20:58.080 lot of things very accurately as
01:21:00.080 approximations if you're into 12 edo
01:21:01.920 sound but won't adjust intonation
01:21:04.560 and it also has some other cool stuff
01:21:06.800 and then we get to 29 and this is where
01:21:08.480 things get interesting because now if we
01:21:10.400 start to factor these twice our integer
01:21:12.880 amount really starts to increase if we
01:21:14.639 think integer limit really starts to
01:21:16.560 increase so i think of these as more
01:21:18.560 like micro lineal or nano lineal like
01:21:21.199 these are very
01:21:22.560 these are very micro tonal forms of the
01:21:25.199 prime families you know they're very
01:21:26.800 they get very small very quick and the
01:21:28.880 first octaves are still very distinct
01:21:30.719 and very functional 31 or yeah 31 is
01:21:34.320 very important very functional i
01:21:35.520 mentioned earlier that 31 is a tetracon
01:21:37.600 second of 28 so i mean that to me that
01:21:40.719 knowing that relationship alone is is so
01:21:43.600 valuable um and then you know 37 has a
01:21:46.719 lot of value the triceptimal area um and
01:21:49.760 i mean
01:21:50.639 there's just a lot of value up there but
01:21:53.920 the higher you go on the primes the more
01:21:55.440 they start to
01:21:56.480 the more they become to me like pillars
01:21:58.800 of structure where we think about how
01:22:00.480 they relate to other things and where
01:22:02.000 they fall inside of other things as
01:22:04.560 opposed to necessarily them being fully
01:22:06.239 standalone i mean they can be standalone
01:22:08.719 for sure and there is uses to use them
01:22:11.520 in standalone like if you're working on
01:22:13.280 creating a nudgy that you really want
01:22:15.199 sort of strict adherence but you also
01:22:17.280 want um
01:22:18.480 non-reducibility you would want to use a
01:22:20.560 prime that's a lot higher like i've used
01:22:23.120 73 and 3 before it's kind of a compound
01:22:26.000 prime thing a semi-prime that gets
01:22:27.679 generated how efficiently can you
01:22:29.520 actually get the stuff from your brain
01:22:30.880 to your daw
01:22:32.480 i don't have any problem
01:22:33.920 um
01:22:35.040 if you use an edgy it's like you just
01:22:36.960 are composing in an edo but you just
01:22:38.639 have ji
01:22:40.480 right so like when i write witchcraft
01:22:42.239 i'm using a 29 nedgie so it feels like
01:22:44.719 i'm writing in 29 edo but everything
01:22:46.719 just sounds better
01:22:48.400 and then when i have to reach for
01:22:50.080 subsets of things what i'll do is i will
01:22:52.400 just duplicate my instrument and use a
01:22:54.000 subset so like for instance in in
01:22:59.360 in witchcraft i use
01:23:01.600 a subset tuning i use the 29 nedgie
01:23:05.199 which is over 11 and 13. it's a
01:23:07.440 semi-prime
01:23:08.800 thing segment because i wanted some of
01:23:10.400 the information from 11 first octave
01:23:12.719 some of the information from 13's first
01:23:14.800 octave so it's 11 times 13 and then
01:23:17.280 that's what my
01:23:18.719 29
01:23:19.760 note
01:23:20.639 neggy is tuned out of but then there's
01:23:23.040 other things that come in there
01:23:25.120 such as these um
01:23:27.360 where is it at let's see if i can find
01:23:28.639 it real fast such as this this quarter
01:23:30.880 and decibel minor 11 flat 6 with commas
01:23:33.920 this is a really important thing in
01:23:35.840 witchcraft and
01:23:37.440 it's not hard to get because i just load
01:23:39.040 it as a different instrument
01:23:42.030 [Music]
01:23:46.000 and then i just play it as a seven note
01:23:47.600 thing
01:23:48.160 [Music]
01:23:56.400 oh yeah i've got my keyboard
01:24:05.980 [Music]
01:24:12.800 so yeah now so we have those other seven
01:24:14.560 notes and then if i want to bring in the
01:24:16.239 29 notes you know i have a different
01:24:17.679 instrument 29 neggy and i know how to
01:24:20.000 compose in 29 edo or 29 edgy and so it
01:24:22.320 just ends up being like this
01:24:30.239 yeah pretty simple
01:24:32.320 is free form jim probably moving
01:24:34.080 fundamental and meta-harmonic structures
01:24:36.080 possible to your ideal extent with the
01:24:37.760 lumatone um
01:24:39.840 yes and no i think it is possible if you
01:24:41.840 set it up right we're currently in the
01:24:43.280 process of that
01:24:44.800 my dear friend tom winspear who might be
01:24:46.960 in chat so it's pretty late in the uk so
01:24:49.120 i'll assume tom went to bed at this
01:24:50.639 point um but you know tom winspear
01:24:53.920 recently sent me a layout for a 53 note
01:24:57.920 neggy which basically captures all the
01:25:00.239 way up to the 61st harmonic oh you are
01:25:02.239 still here tom it's late there
01:25:04.639 so um thanks for staying up and joining
01:25:06.159 us here but yeah so i mean that's about
01:25:08.480 the closest we've gotten to free
01:25:10.840 ji so far giving a haircut i hope it
01:25:14.239 turns out well and even of course um
01:25:16.719 yeah so um
01:25:18.560 it's uh
01:25:19.760 yeah so there's basically that component
01:25:21.280 of it where
01:25:22.480 it is possible um it's challenging i
01:25:25.199 think what we could probably do is with
01:25:26.639 the advance of the the infinitone
01:25:28.560 software that um subrag has been
01:25:31.120 developing i think it will be possible
01:25:33.040 soon and i think that i think the
01:25:34.880 infinitone software seems uniquely
01:25:36.880 developed for prime modality and it's
01:25:38.960 kind of what zubrog said he said he was
01:25:40.480 very influenced by my ideas and stuff so
01:25:43.440 that means now we've got this software
01:25:45.040 coming out that's pretty much set up to
01:25:47.360 do this and bend between it so we could
01:25:49.440 actually take a 12-note framework or a
01:25:50.960 21-note framework or a 31-note framework
01:25:53.440 and we could actually bend between the
01:25:54.880 prime families while we are playing and
01:25:57.600 that is a game changer all together so
01:26:01.840 we do love that very much
01:26:04.800 what tuning is this in
01:26:06.320 oh oh here are these um
01:26:08.480 minor 11s with a piano
01:26:11.660 [Music]
01:26:20.560 we know that's no in decimal right
01:26:22.080 everybody knows that's known decimal you
01:26:23.440 should know it by now
01:26:25.520 sounds too paranormal to be anything
01:26:27.040 else
01:26:31.380 [Music]
01:26:38.400 and since these are all closely related
01:26:40.239 and they're similar structures we can
01:26:41.600 use them as commas
01:26:47.240 [Applause]
01:26:57.679 do
01:27:00.450 [Music]
01:27:13.840 oh oh my lips crashed
01:27:17.040 farewell fruity loops yes knives well
01:27:19.360 does have a nice crunch to it i agree
01:27:20.800 it's a very very gorgeous
01:27:22.719 very gorgeous thing
01:27:25.840 okay so
01:27:27.520 now everybody
01:27:29.360 um what shall we do now
01:27:31.520 well i think i've said most of the
01:27:33.040 important things i think maybe we'll do
01:27:34.480 a follow-up stream on this where we
01:27:36.159 codify things maybe on some paper and we
01:27:38.080 go through things a little more detailed
01:27:39.280 but the first 30 minutes of this was me
01:27:41.199 kind of lecturing and i think it was
01:27:42.480 very well organized so i think that'll
01:27:44.400 be good for people now whenever people
01:27:46.080 say what's prime modality i can just
01:27:49.040 i can just hit him
01:27:50.480 i can hit him with this
01:27:53.900 [Music]
01:28:02.560 yeah baby
01:28:05.920 what's the name of that guitarist i
01:28:07.440 talked about earlier
01:28:08.800 um
01:28:09.840 you mean wod wizard i think you mean
01:28:11.600 parallel prime modality right because
01:28:13.280 relative prime modality would be like
01:28:15.040 you know the 43rd is the fourth of 32.
01:28:17.920 uh
01:28:18.800 when then parallel would be like you
01:28:21.280 know we're moving between
01:28:23.120 uh prime modes while staying on the same
01:28:25.120 form or whatever which
01:28:26.560 ultimately the goal for me has always
01:28:28.239 been to do parallel prime modality and i
01:28:30.159 have done it in some works but doing it
01:28:32.080 right now with the digital tools we have
01:28:33.360 available is actually a lot of work so i
01:28:35.920 think i might be able to find some
01:28:37.120 parallel you know someone once said oh
01:28:40.320 you can't tonicize those things so i
01:28:41.840 made this thing and messed with their
01:28:43.120 ear a little bit where we had um
01:28:45.440 parallel prime modality yeah bin monitor
01:28:47.199 was the guitarist let's see if i can
01:28:48.719 find this parallel prime modality
01:28:51.440 i don't know what i saved it as
01:28:53.679 um
01:28:55.440 i don't know what i saved it as but
01:28:57.679 it's a
01:28:59.520 it's a bit of a trip for sure
01:29:02.800 where's that
01:29:04.320 gosh
01:29:06.800 ooh 24 tone tetrav scale
01:29:11.520 no clue what this is
01:29:14.560 no idea what this is let's see how it
01:29:15.840 sounds
01:29:17.040 oh
01:29:18.080 i remember this super comma
01:29:23.600 ji
01:29:24.880 it's a ji24 thing where it's like tetrav
01:29:27.600 so it's like a 24 note
01:29:29.440 unique scale instead of 12 note
01:29:42.880 sounds pretty good
01:29:44.960 have you guys ever heard
01:29:46.960 do you guys think if i play oh my camera
01:29:48.480 overheated do you guys think if i play
01:29:50.320 ariana grande
01:29:52.960 but slow down on the stream you think
01:29:54.639 i'll get uh you think i'll get cease and
01:29:56.639 desisted
01:29:58.320 that's a question if i play ariana
01:30:00.159 grande slow down do you think i get
01:30:01.520 cease and desisted i don't think i will
01:30:03.600 just to not risk it but
01:30:05.440 i don't i don't want to risk it i don't
01:30:06.960 want to risk it
01:30:09.440 i'm thinking
01:30:10.719 i'm thinking no
01:30:12.800 cease and desist please
01:30:17.280 you think i would get cease and desist
01:30:19.679 okay let's see here arkanism a door what
01:30:22.480 is this
01:30:24.320 oh
01:30:25.440 i forgot
01:30:27.679 oh this is you guys know eurivia right
01:30:30.239 this is eurevia the one of the earliest
01:30:32.480 demos of it back when it was called a
01:30:34.400 door
01:30:40.239 it's changed so much
01:30:45.440 sounds way worse
01:30:46.880 um oh and this is the first demo of it
01:31:03.199 european oh hey let me oh i should
01:31:05.280 probably share my screen or do something
01:31:06.560 visual i'm letting my camera not
01:31:08.400 overheat because it overheated so maybe
01:31:10.639 i should end my stream here but
01:31:19.040 okay let's see here there's there's a
01:31:20.960 sound i'm trying to look for though
01:31:22.800 where i
01:31:24.080 where i used parallel prime modality
01:31:26.159 where every chord was a different
01:31:29.040 where every core was a different prime
01:31:30.159 mode but it all had the same root
01:31:32.159 it was really really cool um i wish i
01:31:34.560 could find it i don't know
01:31:36.400 what month i did it i have to think
01:31:37.920 about what month i did that in
01:31:40.639 not that
01:31:41.760 was it this what is this
01:31:44.560 oh
01:31:45.760 i don't remember this
01:31:47.840 oh this isn't like
01:31:49.600 jimmy
01:31:51.930 [Music]
01:32:04.719 really loud
01:32:12.159 interesting i forgot about this
01:32:14.320 zadiac
01:32:15.280 [Music]
01:32:20.560 i'll probably never release this so
01:32:23.040 [Music]
01:32:25.120 do you announce when you're gonna stream
01:32:26.960 nah i just hit live
01:32:31.830 [Music]
01:32:51.920 oh
01:32:54.510 [Music]
01:32:58.400 let's see select font make it smaller
01:33:02.239 too small
01:33:05.280 too small
01:33:13.120 [Music]
01:33:18.719 yeah so i'll never release that piece um
01:33:21.920 but it was a fun one you know there's
01:33:23.600 also this one i think i've played it on
01:33:25.120 stream before but this is one of those
01:33:27.040 pieces oh estrella
01:33:28.800 that was also europia at one point um
01:33:31.340 [Music]
01:33:32.560 there is this one piece that i started
01:33:34.800 working on a long time ago that i never
01:33:36.400 finished i guarantee you all would like
01:33:38.719 it but i'm not ever gonna finish it i
01:33:40.800 don't think
01:33:41.920 so i think i might play it and see just
01:33:44.719 to hear it because i haven't listened to
01:33:45.840 it in a long long long time oh yeah i
01:33:48.639 think on my album i'm gonna do prayer
01:33:49.920 room in justin's nation it was
01:33:51.679 originally in 31 edo
01:33:53.679 but it kind of it kind of hits different
01:33:56.239 in ji so um
01:33:59.120 like i think let's see where's it at
01:34:01.760 um
01:34:02.639 i don't know if you guys have heard it
01:34:03.679 in just intonation but it sounds crazy
01:34:08.980 [Music]
01:34:25.440 do
01:34:38.719 do
01:34:47.360 sounds so good
01:34:53.440 [Music]
01:35:04.800 it's in a 31 neggie of 23 and 6.
01:35:12.320 you know i didn't know until after i
01:35:14.000 went and analyzed prairie room after i
01:35:15.520 wrote it that it's almost all super
01:35:17.040 major
01:35:18.159 this thing
01:35:19.280 is super major
01:35:23.600 it's kind of like this
01:35:25.360 weird
01:35:29.040 this is the original
01:35:33.920 harrison ji
01:35:40.719 i just love that
01:35:43.040 so much better
01:35:51.840 okay now i said i'd play this song that
01:35:54.159 i never released
01:35:56.719 let's see
01:36:09.280 this isn't 17 nedgie
01:36:11.760 i know there's a lot of 17 fans in chat
01:36:14.490 [Music]
01:36:22.840 oh uh
01:36:24.719 laura you can just say um
01:36:27.360 wait with that song i was just playing
01:36:29.840 that's just prayer room you can ask me
01:36:31.760 about prayer room
01:36:33.040 oh this is 17 edgy
01:36:37.040 why won't you release it because i'm
01:36:38.480 working on my technical album
01:36:40.639 and
01:36:41.440 it's not in the right line of energy
01:36:50.700 [Music]
01:36:56.400 okay camera coming back on
01:36:59.140 [Music]
01:37:05.040 okay we are back hello
01:37:08.159 i'm so sweaty too
01:37:09.840 like melting
01:37:12.320 okay so there's that junk now let me
01:37:14.000 show you the junk i'm looking for this
01:37:15.520 is gonna be an old junker that stays
01:37:17.360 dead in my in my thing so i might as
01:37:18.960 well share it with you all to enjoy oh
01:37:21.280 you know there's this piece i've been
01:37:22.159 working on for like three years called
01:37:23.360 polymorphing i need to release it
01:37:25.119 because it's actually done i just
01:37:27.040 haven't released it isn't that
01:37:28.080 ridiculous okay let's see how do you
01:37:30.320 decide what you're releasing you don't
01:37:32.239 i either releases or it does i don't
01:37:34.960 there's no rhyme or reason i wish there
01:37:36.639 was
01:37:38.080 if there was a rhyme or reason i'm sure
01:37:39.920 it would work better okay here we go
01:37:41.360 here's this junk 31 tone future bass i'm
01:37:44.000 sure i've played on stream before but
01:37:45.119 here you go
01:37:48.239 oh i know why i don't want to release
01:37:49.280 this i don't want to release it because
01:37:50.080 i don't feel like re-singing it and i
01:37:51.360 feel like the vocals suck so i'm too
01:37:53.199 lazy to vocalize it
01:37:57.820 [Music]
01:38:12.400 maybe i will release him
01:38:14.320 i don't know
01:38:17.030 [Music]
01:38:25.760 the goal of this was to make was to make
01:38:27.760 like future base in 31.
01:38:31.199 yeah this was this was 31 future base
01:38:34.159 that's what it's actually called at the
01:38:35.760 moment
01:38:37.370 [Music]
01:38:41.119 now i think this has lyrics i don't like
01:38:42.840 anymore i want to play the one without
01:38:45.040 lyrics but we'll see if this has lyrics
01:38:46.480 or not so we'll just hold five
01:38:49.510 [Music]
01:39:03.920 this is
01:39:09.070 [Music]
01:39:22.639 let's go
01:39:28.650 [Music]
01:39:35.760 oh this is sick right here
01:39:37.700 [Music]
01:40:03.520 so
01:40:05.150 [Music]
01:40:19.520 oh
01:40:20.820 [Music]
01:40:28.960 oh that's not a tune that's gross
01:40:34.000 [Music]
01:40:44.080 is
01:40:46.780 [Music]
01:41:01.679 yeah i don't like the bubbles either
01:41:03.280 that's kind of why i don't want to what
01:41:04.960 does that attune mean not
01:41:06.800 unintended it's bad vocals yeah that's
01:41:09.679 why i haven't released it i don't feel
01:41:11.600 like redoing the vocals um
01:41:14.400 but i also feel i don't know maybe i'll
01:41:16.560 do instrumental for it
01:41:22.430 [Music]
01:41:26.320 yeah i like it without the vocals let's
01:41:27.840 see i think i have a non-vocal version
01:41:32.480 no i don't wait here
01:41:39.119 no see i put vocals on it really early
01:41:41.679 oh
01:41:43.520 i just have a lead on this too check it
01:41:44.880 out
01:41:50.080 maybe i should get rid of the vocals and
01:41:51.600 replace it with these leads take a
01:41:52.800 listen to this kind of slaps
01:41:54.890 [Music]
01:42:06.800 like that lead is actually kind of nasty
01:42:20.320 i think maybe just more more more
01:42:22.159 like that would be so sick
01:42:24.719 yeah so there's that
01:42:26.320 that's that 31 tone soul
01:42:30.320 so there's that um i'll probably never
01:42:32.560 see the light of day although it
01:42:33.600 actually is kind of nice i'm kind of i'm
01:42:35.600 kind of feeling it now actually so
01:42:37.199 that's kind of why i like going through
01:42:38.400 old stuff i haven't released with you
01:42:39.679 all because sometimes i hear stuff and
01:42:41.440 i'm like why did i put that down like
01:42:43.679 viola where is why have i not finished
01:42:46.320 that i was like so inspired on viola and
01:42:48.639 then it just
01:42:49.679 it just ceased to be but i think i have
01:42:51.840 to finish it for my album so my album is
01:42:54.159 very close to being done everybody
01:42:56.400 very very close
01:42:57.920 and there's this piece that i kind of
01:43:00.320 think i need to do on it that i don't
01:43:02.400 really want to do so there's one piece i
01:43:04.239 haven't even started yet that i know has
01:43:06.080 to be finished it's called goddess and i
01:43:08.800 have to finish it it's been
01:43:10.719 guest state gestating in the mind for
01:43:12.639 like
01:43:14.000 probably like 11 months now
01:43:16.320 um and parts of it have came out in
01:43:18.560 other pieces but i haven't like made it
01:43:20.880 so i have to finish it conceptually
01:43:22.719 before i'm done with my album which kind
01:43:24.080 of sucks because i'm also
01:43:26.639 focused on hex at the moment and it's
01:43:29.280 kind of like there's so many there's so
01:43:31.040 many things i was going to use some
01:43:32.719 other pieces i've already released but i
01:43:34.239 kind of want to not
01:43:36.320 not release those and instead i feel
01:43:38.080 like i feel like the conception of my
01:43:39.840 full-length album is becoming so
01:43:41.440 increasingly clear to me that i know
01:43:43.280 exactly what i have to do but it means
01:43:45.119 that i have to i have to finish a piece
01:43:46.719 that's about 30 done and then i have to
01:43:48.960 start a new piece and given the fact
01:43:51.040 that i work so much and i do my voice
01:43:52.560 stuff and everything like that that
01:43:54.080 means my full-length album might not be
01:43:55.760 done for a while which i really hate
01:43:57.199 that idea but i don't want to rush it
01:43:59.600 but
01:44:00.400 like this
01:44:02.239 oh wait hold on where's viola i think i
01:44:04.320 played it on stream here at one point
01:44:05.600 but i think i've got it here somewhere
01:44:09.520 i love how it sounds i think i think i
01:44:12.159 would be able to find it just by
01:44:13.040 searching 34 because it's in 34 neggy
01:44:16.080 um nope i didn't find it 1334 nedji i've
01:44:18.800 played it on stream before i know i have
01:44:20.239 but i love it so much and
01:44:23.199 i really kind of need to finish it but i
01:44:25.920 kind of don't want to do that piece yet
01:44:28.000 i want to do something else so
01:44:30.560 it's kind of a
01:44:33.040 challenging decision
01:44:36.159 check this out yeah i'm going to post a
01:44:37.760 stream of the video the entire point of
01:44:39.440 it was the first 30 minutes of it was
01:44:40.800 like an exposition on the theories of
01:44:42.320 prime modality so it's definitely going
01:44:44.000 to stay up on my channel because
01:44:44.960 whenever people ask me what is prime
01:44:46.239 modality i can just click on this video
01:44:48.400 check this out though um i added a bunch
01:44:50.320 of hex i'm not going to spoil all of it
01:44:52.400 if you guys have not heard hex yet
01:44:54.480 it's crazy and this part is crazy crazy
01:44:56.719 i added this
01:45:02.010 [Music]
01:45:22.560 so
01:45:31.340 [Music]
01:45:45.550 [Music]
01:45:48.730 [Applause]
01:45:51.870 [Music]
01:46:01.000 this is so sick
01:46:19.040 is
01:46:30.639 that is like oh my god
01:46:33.600 i love that texture that all scent stuff
01:46:36.320 no that's acoustic cello that's me
01:46:38.400 playing cello
01:46:41.600 yeah that's that's acoustic um
01:46:44.000 yeah that was all live
01:46:46.080 [Music]
01:46:51.440 this entire piece is pure just
01:46:52.960 intonation or free pitch
01:46:55.200 [Music]
01:46:57.600 cello do go burr especially when you run
01:46:59.840 it through homicide
01:47:01.840 oh i forgot about this part
01:47:03.760 it's a demo i've got to make it better
01:47:09.650 [Music]
01:47:32.080 you know
01:48:30.400 she
01:49:01.199 i love it this is my favorite piece i've
01:49:02.800 ever created i feel it's one of the most
01:49:04.960 conceptually cohesive things i've ever
01:49:07.199 made but at the same time it's the least
01:49:09.600 musically cohesive but
01:49:11.440 because it's like
01:49:12.960 thematically so cohesive the music can
01:49:15.520 be so jagged and it works fine and it's
01:49:19.040 so powerful i've been working on this a
01:49:20.560 little bit every day and then i export
01:49:22.000 it every night and then i lay in bed and
01:49:23.360 listen to it and it's just like it is
01:49:25.199 yet to get boring to me and it's just
01:49:28.159 it's a trip so that was like that was i
01:49:30.400 started playing it eight minutes in so
01:49:32.000 you guys heard and remember also like i
01:49:34.080 said on the last stream i did that's in
01:49:35.679 mono so
01:49:37.199 when you hear that in stereo it's going
01:49:38.960 to hit so hard and
01:49:41.440 also i want to thank
01:49:43.040 osno austin one who was in chat here um
01:49:46.080 she gave me some awesome feedback on it
01:49:48.400 and that feedback has helped me make it
01:49:50.080 a lot better and as i was chasing some
01:49:52.159 of that feedback that entire extra
01:49:53.920 section i just played was born so
01:49:56.960 um it's it's uh it's kind of a monster
01:49:58.880 piece i also added this vocal part last
01:50:00.239 night i don't like it i think it's out
01:50:01.360 of tune so you know i'm gonna just demo
01:50:03.440 it but i've got this
01:50:16.480 so conceptually this is like an internal
01:50:18.400 like monologue like whenever it's pretty
01:50:20.960 that's like the pers that's like the
01:50:22.239 main character this like communicating
01:50:24.400 with themselves more like in a
01:50:26.960 kind of um
01:50:28.239 in a in a serie in a way where they're
01:50:30.800 seeing more clearly and they're like
01:50:32.800 understanding i don't want to spoil it
01:50:34.639 all but
01:50:35.760 those parts that are really pretty like
01:50:37.679 represent like the experience of this
01:50:40.480 directly and all the other parts are
01:50:42.719 like oh something else i'll say i
01:50:45.760 reached out last night to a videographer
01:50:48.880 a film person a lighting whatever
01:50:51.440 um maybe i don't know this is 100
01:50:53.920 confirmed yet i'm going to do some
01:50:55.119 research on this
01:50:57.040 i think i want to spend a bunch of money
01:50:58.639 and turn hex into like
01:51:00.880 a music video like a really good one
01:51:03.440 like and during that part where like the
01:51:05.119 drowning happens right here
01:51:07.920 like this
01:51:12.239 like i want to get some shots of me
01:51:13.840 strobe lighting like drowning underwater
01:51:15.920 like fighting
01:51:17.280 so i'm thinking i'm gonna drop drop some
01:51:20.000 high budget and make like a legit like
01:51:23.119 visual narrative to go along with this
01:51:25.119 but
01:51:26.159 that's
01:51:27.119 that's still to be determined right
01:51:29.040 because it's a it's a lot of work but it
01:51:32.000 seems like it would be awesome and the
01:51:34.400 hard thing is this piece is so
01:51:35.679 non-corporeal so many parts of it exist
01:51:38.400 in a place where there wouldn't be
01:51:39.840 physical bodies that it has to
01:51:42.719 has to capture that kind of energy and
01:51:44.639 then the moments where there is singing
01:51:46.560 where this is like active in the
01:51:48.239 character like it has to be like um
01:51:51.440 you know it has to i'll be there like
01:51:53.199 being the character or whatever um
01:51:55.280 having a trauma moment because it's just
01:51:57.679 one gigantic musical trauma pretty much
01:52:00.639 um for the character at least so anyways
01:52:03.199 that's hex i can't wait to drop it
01:52:04.800 here's the thing i'm going to dilemma
01:52:06.159 because it's about done i need to
01:52:07.760 re-record like a couple vocals i need to
01:52:09.599 process the vocals a little bit better
01:52:11.119 but it's pretty much done and i really
01:52:12.639 just want to release it on my youtube
01:52:14.840 but i also wonder if i should just not
01:52:17.760 release it and then wait till i finish
01:52:19.280 the album so that there's like more
01:52:21.199 content on the album that hasn't been
01:52:22.719 released that's the thing with albums
01:52:24.639 these days it feels like you know
01:52:26.719 um it feels like spending a bunch of
01:52:28.880 time because music's not my full-time
01:52:30.639 thing anymore right voice is my
01:52:32.080 full-time thing so
01:52:33.920 i don't get to work on music as fast as
01:52:35.599 i would like and so the idea of like
01:52:37.360 sitting on a piece you're really proud
01:52:38.960 of for like multiple months while you
01:52:40.639 wait for the other stuff to finish to
01:52:42.560 release all at once
01:52:44.639 it doesn't really feel like the it's
01:52:47.360 that worth it
01:52:48.960 you know what i mean but i think it
01:52:50.400 would be better in the long run because
01:52:51.840 i think i want to give everybody content
01:52:54.159 on the album they haven't heard yet but
01:52:55.599 i also don't know if it's that important
01:52:57.520 so
01:52:59.040 a bit of a dilemma there because i just
01:53:01.360 i've been doing this thing where it's
01:53:02.560 like the moment i finish a piece i
01:53:03.840 release it you know and that's kind of
01:53:05.199 been that's helped me
01:53:06.880 keep releasing stuff because it's like i
01:53:08.639 get this momentum where i build up this
01:53:10.320 piece and then i release it and share it
01:53:11.760 and it's out there and the idea of like
01:53:13.920 oh i've built this momentum i made this
01:53:15.440 thing and now i'm just like sitting on
01:53:17.119 it like that that kind of kills me i
01:53:19.280 haven't done that since like
01:53:21.119 my third full-length album and i
01:53:22.719 honestly don't like it so i mean i like
01:53:24.480 my third album but i don't like that
01:53:25.760 process of like oh i finished this thing
01:53:28.080 and now i'm just waiting for other
01:53:29.599 things to be finished because i don't
01:53:31.199 know goddess could take me two months it
01:53:32.800 could take me three months take me five
01:53:34.080 months i don't know how long it's gonna
01:53:35.199 take me and um viola that's gonna be a
01:53:39.040 long process too
01:53:40.639 so
01:53:42.239 i don't know
01:53:43.760 i don't know what the best
01:53:45.360 course of action is in terms of the
01:53:46.880 release of my album
01:53:48.639 uh singles have been going well for me
01:53:50.800 so maybe i release hex as a single and
01:53:53.119 then the future
01:53:54.400 release a music video for it i don't
01:53:55.920 know but i also want to have this
01:53:57.360 cohesive album drop because it's kind of
01:53:59.199 like
01:54:00.560 the album is is pretty crazy so
01:54:04.400 been sitting on a big album for four
01:54:06.000 years doesn't that suck like
01:54:08.480 yeah
01:54:09.920 i don't know how other people do it like
01:54:11.679 if music was my full-time job yeah
01:54:13.599 because i would finish my album within a
01:54:14.960 month literally i'd sit around here all
01:54:16.639 day long and compose music for like 12
01:54:18.880 to 16 hours a day like i used to and
01:54:21.040 then i would be done but i work a day
01:54:23.199 job and i have a side hustle and i make
01:54:25.360 content for a big bigger youtube channel
01:54:27.280 and i make content for this channel
01:54:29.360 and
01:54:30.320 when everything is all said and done i
01:54:31.840 don't really get that much time to
01:54:33.520 compose anymore i mean i get enough time
01:54:35.840 i can't really complain but
01:54:37.210 [Music]
01:54:41.920 oh here's this one
01:54:43.679 one tune
01:54:45.760 no
01:54:46.800 no
01:54:47.599 this one
01:54:49.280 i need to finish this one as well this
01:54:50.960 one's really important
01:55:04.080 bigger youtube channel
01:55:05.679 yeah i have a voice education channel
01:55:07.440 that's like 10 times the size of my
01:55:09.760 music channel
01:55:12.719 this is my this is like my like
01:55:23.760 that's also why
01:55:25.119 that's also why i don't release more
01:55:26.400 stuff on this channel or do some more
01:55:28.159 streaming on this channel because we've
01:55:29.760 had about 50 to 60 concurrent viewers
01:55:34.400 for the stream which is good for this
01:55:35.760 channel but if i go live with my other
01:55:37.199 one i'll get like 250 people like
01:55:39.440 instantly and um
01:55:41.280 you know what i mean it's just it's like
01:55:42.480 way bigger so there's kind of like a
01:55:44.320 weird thing streaming on this channel
01:55:45.520 because it's such a smaller impact but
01:55:48.080 but for like prime modality stuff like
01:55:50.239 i'm not going to do that on my other
01:55:51.360 channel because it's like
01:55:53.119 no one even knows what tuning is
01:55:55.300 [Music]
01:55:59.360 fake dracula i hate the idea of
01:56:01.760 tick-tock and i'm never going to go on
01:56:03.280 tick-tock so i'm trying to hire a
01:56:04.800 tick-tock
01:56:06.080 manager i need to hire someone to do
01:56:08.000 tick-tock stuff for me because i am
01:56:09.679 never getting on that application i
01:56:11.520 think it's brain worms
01:56:15.840 no you didn't miss a big theory channel
01:56:17.679 growing this is my theory channel well i
01:56:19.679 used to have a theory channel a long
01:56:21.199 time ago but then i
01:56:23.119 got i loved tuning sandwiches but then i
01:56:25.280 got rid of that theory channel
01:56:27.280 and now i have this one so i think i
01:56:29.920 could make this a big theory channel if
01:56:31.520 that's what i was doing
01:56:33.280 but instead i'm focusing on the voice
01:56:35.520 stuff first and foremost you know so um
01:56:39.520 yeah the tick tock stuff i know i'm
01:56:41.280 missing out on a huge audience but at
01:56:42.800 the same time i don't feel like
01:56:44.719 i feel like i want to be able to consent
01:56:47.040 to getting on tick-tock and right now
01:56:49.119 the way it works is like i'm not i don't
01:56:50.880 consent to be on tick-tock it's like
01:56:52.639 forcing me to be on tik-tok you know
01:56:55.360 what i mean so it's like the fact that
01:56:57.440 there's like this compulsive urge like
01:56:58.800 oh you gotta go get those numbers on
01:57:00.239 tick tock got to get more viewers on i
01:57:02.000 just i inten i then don't do it because
01:57:04.080 i have to have some degree of autonomy
01:57:06.320 over my actions and i feel like tik tok
01:57:09.040 puts me in a place where it's like more
01:57:11.119 numbers more numbers more people more
01:57:13.040 people go tick-tock tick-tock
01:57:15.760 yeah i don't even know i i i feel like
01:57:18.719 just tick-tock in general is just
01:57:20.880 brain rot i also feel like i like making
01:57:25.840 content that has a lot of in in value
01:57:28.400 like deeper value and i don't really
01:57:30.480 feel like you can do that on tick tock
01:57:31.840 even with a two minute video it's like
01:57:34.239 you know no one no one there is like
01:57:38.880 nothing on tick tock is giving you like
01:57:40.560 profound value unless it's maybe like
01:57:43.119 emotional pick-me-ups that are like you
01:57:44.719 can do it come on you know like things
01:57:46.639 like that probably have value for people
01:57:48.960 um like sure you can like laugh and see
01:57:51.440 like silly memes and you know someone
01:57:53.840 dances gets five million views or
01:57:55.599 whatever but i don't really think like
01:57:59.199 i don't really think it's that uh that
01:58:01.280 thing the other thing about tik tok
01:58:02.800 that's really weird
01:58:04.320 is because like exactly what you said
01:58:06.000 hamburghini self-promo is easy on
01:58:07.760 tick-tock due to that algorithm exactly
01:58:10.239 but the other thing is that the views
01:58:11.760 are inflated right like nobody would say
01:58:14.719 that two million views on tick tock is
01:58:16.480 equivalent to two million views on
01:58:18.080 youtube right i would almost wager that
01:58:21.119 a million views on tick tock is
01:58:22.639 equivalent to like 40 000 views on
01:58:25.440 youtube
01:58:27.199 you know it's uh i think the the it's
01:58:30.000 the way it inflates like if i open tick
01:58:32.239 tock right now and then i try to leave
01:58:34.239 the application and i hit back back back
01:58:37.199 it'll play three videos and those those
01:58:39.199 count as views for that person on their
01:58:41.360 video but was that actually like a view
01:58:44.639 you know like i'm trying to leave the
01:58:46.000 application i'm trying to just go back
01:58:47.520 really fast
01:58:48.560 but it still counts as a view the moment
01:58:50.000 i hit the thing when it loops over it
01:58:52.000 counts of you so somebody watching your
01:58:54.080 tick tock could watch it could
01:58:55.679 accidentally leave it on their phone
01:58:56.880 playing five times and now it gives you
01:58:58.320 five views
01:58:59.760 so i think the way i think what it does
01:59:01.679 is it utilizes and takes advantage of
01:59:06.400 i think it takes advantage of our desire
01:59:08.480 to
01:59:09.440 bigger number better person you know
01:59:11.599 like what we were talking about earlier
01:59:12.800 so it's like when you see on tick tock
01:59:14.080 like whoa like that person's like doing
01:59:16.000 that thing and they just got a million
01:59:17.199 views like doing that right it's very um
01:59:20.639 it's like it baits people in because it
01:59:23.119 shows whoa big number chase that go do
01:59:25.920 that but i don't really think that
01:59:27.280 number is quite the value that it would
01:59:29.760 be on other apps like if you got a
01:59:31.840 million likes on an instagram photo
01:59:34.400 like
01:59:35.280 that's crazy but if you get like a
01:59:37.280 million likes on tick tock that's crazy
01:59:39.119 too
01:59:40.080 but it feels a little less crazy you
01:59:42.719 know
01:59:44.159 like if i could choose a million views
01:59:45.760 on a youtube video or 5 million views on
01:59:47.679 a tick tock i'd probably choose a
01:59:49.520 million views on a youtube video
01:59:51.280 personally because i think that those
01:59:52.480 numbers are are more significant they're
01:59:54.639 weighted heavier
01:59:56.880 do you have perfect pitch no i don't
01:59:59.440 did you release your previous album on
02:00:00.800 spotify no i've never put anything on
02:00:02.719 spotify other than sola
02:00:04.639 yes i will release my current stuff
02:00:06.480 people always ask me when i'm gonna
02:00:08.000 upload my music to those platforms i
02:00:10.000 just haven't yet
02:00:11.360 part of my job is basically marketing a
02:00:13.040 programming language and we're supposed
02:00:14.480 to be making social content but
02:00:16.639 literally where do you start might as
02:00:17.920 well be talking to geese true
02:00:20.080 also doesn't it have an algorithm that
02:00:21.520 promotes more people with contract
02:00:23.199 conventionally attractive appearance
02:00:24.480 more i think that's true the entire
02:00:25.840 internet i think that's true the whole
02:00:26.960 world
02:00:28.000 i think that's called um
02:00:29.920 the halo effect
02:00:31.520 i don't necessarily think the algorithm
02:00:33.199 does that itself but people click videos
02:00:35.840 of people that are more attractive and
02:00:37.119 then they end up getting pushed to more
02:00:38.960 people because the algorithm is reacting
02:00:40.800 to the clicks right so
02:00:44.000 social media is crazy
02:00:47.119 crazy crazy stuff so
02:00:50.159 yeah
02:00:52.800 it's 63 prime 63 is prime isn't it
02:00:55.920 wait yeah 63's prime no 21 times 3 is 63
02:01:00.080 isn't it
02:01:02.560 yeah 63 is 21 times 3.
02:01:06.080 jacob call your tick top collab win
02:01:10.719 dude if i had if i had a
02:01:13.199 if i had a dollar for every time someone
02:01:15.280 asked me about jacob collier i'd have
02:01:17.199 i'd have so much money
02:01:18.880 um i'm tired of algorithms too wad
02:01:21.280 wizard i hate it because you like have
02:01:23.920 to create like thumbnails that are
02:01:25.920 catchy into the algorithm you have to do
02:01:27.760 this thing that a title that's like
02:01:30.000 hooking you know it's like you can't
02:01:31.840 just make your content and share it and
02:01:33.679 you can't
02:01:34.719 like i see so much stuff that's
02:01:36.080 incredible content that gets like no
02:01:37.760 views and then i see stuff that's like
02:01:39.679 like
02:01:41.280 pretty low tier content effort that gets
02:01:43.520 like tons of views because they played
02:01:44.800 the algorithm better have you listened
02:01:46.560 to bjork before people always compare my
02:01:48.480 singing to bjork which i'm very
02:01:49.760 flattered by i haven't really listened
02:01:51.679 to bjork that much i think she's cool
02:01:53.760 i kind of get her aesthetic a little bit
02:01:55.599 but i haven't really dug deep in her
02:01:57.599 music
02:01:58.560 despite being compared to her all the
02:02:00.159 time so
02:02:02.960 that algorithm is emergent behavior see
02:02:05.280 that's true max but the weird thing
02:02:07.040 about the algorithm i agree with that
02:02:09.280 aiden i agree with that 100 i hit that a
02:02:12.000 lot on my youtube channel it's like
02:02:13.920 watch i'm going to release a i'm going
02:02:15.280 to release a vocal coach reacts to billy
02:02:17.040 eilish video this week and that'll
02:02:18.960 probably perform better than my videos
02:02:20.400 that i spend like two months making that
02:02:21.920 are like deep content so we'll see how
02:02:23.840 it goes
02:02:24.719 um
02:02:25.599 you said it's emergent behavior and it's
02:02:27.360 what we put in the algorithm see the
02:02:28.800 interesting thing though max is
02:02:31.040 yes but over time the algorithm trains
02:02:33.679 us right like we train the algorithm
02:02:35.360 based on what we click at
02:02:37.280 but then
02:02:38.400 what happens is the algorithm
02:02:41.360 sort of trains us to click certain
02:02:43.520 things you know what i mean so i think
02:02:46.000 it goes both ways like we are
02:02:49.520 we are
02:02:50.960 training the algorithm but then based on
02:02:53.040 the way it distributes content to us and
02:02:55.040 the way we get satisfaction out of the
02:02:56.400 content it distributes to us
02:02:58.239 we end up being trained by the algorithm
02:03:01.840 so i think it's a bit of a feedback loop
02:03:03.440 where the initial genesis is we feed the
02:03:06.000 algorithm but then the other thing no
02:03:08.159 i'm not joking about that video at all
02:03:09.520 jess
02:03:10.400 no i'm going to start playing the
02:03:11.360 algorithm more i'm going to start doing
02:03:12.880 a content cycle where it's one video for
02:03:14.800 me one video for my audience and one
02:03:17.520 video for the algorithm and that will
02:03:19.440 make it because i'm releasing like a
02:03:20.639 video a week before i would do like once
02:03:22.639 one big video every month now i'm gonna
02:03:24.719 have one big video every month still but
02:03:26.800 i'm also going to have a video that's
02:03:28.480 kind of geeky for me that's kind of
02:03:29.920 smaller and i'm doing what i want but
02:03:31.840 then i'm also going to have a video
02:03:33.199 that's specifically trying to tap into
02:03:35.840 the algorithm you know i've seen voice
02:03:37.679 channels that have incredible voice
02:03:39.119 education content on them and they
02:03:40.880 plateau it like five to ten thousand
02:03:42.400 views of video luckily mine's like
02:03:44.080 bigger than that but then they switch to
02:03:45.760 this reacts to vocal coach reacts to and
02:03:48.239 then they're instantly like a hundred
02:03:49.679 thousand views like fifty thousand views
02:03:51.360 five hundred thousand views so for me it
02:03:53.920 makes a lot of sense to play the
02:03:55.199 algorithm to grow the channel as a whole
02:03:57.520 so that then when i make my more serious
02:03:59.440 content that's high value it's actually
02:04:01.440 impacting more people
02:04:03.119 you know that's the thing about the
02:04:04.719 algorithm you might as well play it
02:04:06.480 because all it's going to do is it's
02:04:07.599 going to allow you to reach more people
02:04:09.280 with the content that you really care
02:04:10.960 about you know it's
02:04:13.760 ah it's pretty pretty crazy stuff
02:04:16.560 so
02:04:18.480 what's a voice channel that you like
02:04:19.840 well i'll give you an example coffin
02:04:22.320 they don't get they don't get little
02:04:23.840 views anymore about three years ago four
02:04:26.159 years ago there was a video there was a
02:04:27.520 youtube channel called tristan paredes
02:04:30.320 tristan paredes was a vocal educator and
02:04:32.880 singer who honestly put out tons of
02:04:35.119 great vocal education material if you
02:04:37.920 search for tristan paredes you'll find
02:04:39.360 their youtube channel and now you'll
02:04:40.400 find they have two million subscribers
02:04:42.320 and that is they put out educational
02:04:44.159 content high level educational content
02:04:46.000 for over a year and they plateaued
02:04:48.320 around six to ten thousand subscribers
02:04:51.280 for about a year and they were putting
02:04:52.639 out incredible content then they made
02:04:55.199 vocal coach reacts to and they were the
02:04:57.040 ones that popularized it and within a
02:04:59.599 month or two 200 000 subscribers within
02:05:02.560 six months a million they turned their
02:05:04.719 channel that had been plateaued for 10k
02:05:06.719 10k subs for literally
02:05:09.360 a year making incredible content to like
02:05:12.239 a million in like three months by making
02:05:15.119 algorithm based videos and now they
02:05:17.119 deleted all their old content and they
02:05:18.639 only do that which i'll never do that
02:05:20.560 but it just goes to show the way this
02:05:22.239 algorithm works i could mention other
02:05:23.599 voice channels too that that have had
02:05:25.199 that same kind of growth curve so it's
02:05:27.520 just weird how the algorithm does that
02:05:29.119 hi sanam um uh um cinema it's so good
02:05:32.719 for you to be here uh earlier in the
02:05:35.119 stream uh the first hour of it we were
02:05:37.840 theorizing prime modality so there's a
02:05:39.360 lot of intense music theory stuff there
02:05:41.040 early on um and now we're just kind of
02:05:43.280 chatting about social media and
02:05:45.119 weirdness
02:05:47.040 yes i agree
02:05:48.639 ushi i completely agree um
02:05:51.920 and uh
02:05:53.440 yeah so there you go yeah but kopfen
02:05:56.320 they didn't at first at first they were
02:05:58.320 uploading like daily or weekly voice
02:06:00.400 education content that actually was
02:06:01.920 really good
02:06:03.119 really good you know and then their
02:06:05.280 channel like plateaued very quickly and
02:06:07.440 then they started doing that and then
02:06:08.719 they just exploded so it's like why
02:06:11.119 would you not do that right and that's
02:06:13.440 what i hate about it is it feels like my
02:06:16.000 self-agency gets removed you know so i
02:06:18.960 think the best way to do it
02:06:21.280 the best way to do it is to make content
02:06:23.280 one video for me for the art one video
02:06:25.920 for the algorithm and one for the
02:06:27.599 audience so it's like one that i love
02:06:29.520 personally the other might get lost on
02:06:31.679 my audience one that my audience will
02:06:33.760 love and give high value to the audience
02:06:35.679 and then one that the algorithm will
02:06:37.119 love that can grow my channel that's the
02:06:38.719 new
02:06:39.520 mode of process for me so we're about to
02:06:41.199 test my first vocal coach reacts to
02:06:42.880 video
02:06:43.760 tonight my editor was supposed to have
02:06:45.520 it done yesterday but their computer
02:06:47.520 glitched and they had to re-edit it
02:06:49.040 today so
02:06:50.480 yeah it's crazy right
02:06:53.760 can you offer me any vocal channels to
02:06:55.520 offer content i honestly only watch my
02:06:57.360 own vocal channel now so i wouldn't be
02:06:59.679 able to do that i used to watch a lot
02:07:00.800 more voice channels i will say um new
02:07:03.040 york singing coach or whatever that dude
02:07:04.880 he's pretty good he's got high value
02:07:06.400 content for sure
02:07:08.400 v heart made a video about that i'd love
02:07:09.840 to see that
02:07:11.040 you like the distribution good strategy
02:07:12.639 thank you i appreciate it each time has
02:07:15.280 its own problems um it's more of a
02:07:17.040 personal yeah i mean the thing is it's
02:07:19.040 just like
02:07:20.560 you know um
02:07:21.610 [Music]
02:07:23.599 it's uh
02:07:24.880 it's not something i like really want to
02:07:26.719 do but it just seems like you might as
02:07:29.280 well try it
02:07:30.880 you know like
02:07:32.159 um
02:07:33.119 my channel is still growing at a pretty
02:07:34.560 good rate but like i mean i could drop
02:07:36.079 one of those videos and it could like
02:07:37.599 blow my channel up like a hundred
02:07:39.199 thousand subs overnight you know what i
02:07:41.119 mean that's just the way it works with
02:07:42.480 the algorithm so like that jacob call
02:07:44.880 your video i just released
02:07:46.480 it didn't it didn't land like i wanted
02:07:48.159 to i'm not sure why the algorithm
02:07:50.560 started to pick it up for like two hours
02:07:52.239 and then dropped it but that's kind of a
02:07:54.079 disappointment because you know there's
02:07:55.599 other channels that have like way less
02:07:57.040 subs in my music channel and way less
02:07:58.480 engagement and they'll drop something
02:07:59.760 that's like a minute long video that's
02:08:01.599 just like them like doing something
02:08:03.199 stupid with the title caller and they'll
02:08:04.639 get like a hundred thousand views in
02:08:06.079 like two days
02:08:07.679 i was hoping that was going to be the
02:08:08.960 hit for the 27 note mega chord video but
02:08:11.520 the algorithm said no even though it has
02:08:14.000 great click-through impression rates it
02:08:16.159 just didn't generate impressions for
02:08:17.679 some reason um it did within the first
02:08:20.320 seven hours after it released it started
02:08:21.840 to blow up and then it stopped and then
02:08:23.440 another seven hours later it pumped it
02:08:25.040 out impressions and then it just
02:08:26.639 plateaued so i don't know what happened
02:08:28.400 there
02:08:29.360 i hate the algorithm stuff though it's
02:08:31.280 so annoying
02:08:34.000 speaking of vocal coach rex dude do you
02:08:35.440 know lingua ignota no
02:08:37.920 some of the most awesome vocal work i'll
02:08:39.840 check that out i'll take a note of it
02:08:41.440 right now
02:08:42.639 we have more viewers now we're doing
02:08:44.639 we're in the least most interesting part
02:08:46.000 of the live stream everybody
02:08:47.599 the the first 30 minutes was like a
02:08:49.920 technical exposition of prime modality
02:08:52.400 so
02:08:53.440 yeah
02:08:55.520 yeah i mean i actually wondered dave if
02:08:58.320 the reason why i didn't get the traction
02:09:00.000 it was i was planning for it to is
02:09:02.000 because i posted it externally too much
02:09:04.000 because i posted it on facebook i posted
02:09:05.440 on koi group about 50 of the traffic
02:09:08.239 from that did not come from impressions
02:09:09.920 it came from direct link so i almost
02:09:11.920 wonder if by not allow by giving it to
02:09:14.480 people on direct link they didn't click
02:09:16.079 it on the youtube impressions so that
02:09:18.000 ended up pushing the the performance
02:09:19.520 down i hate youtube it's it's i hate the
02:09:22.159 algorithm stuff i really hate it so much
02:09:24.880 i just wish we could just make good
02:09:26.239 content and then
02:09:27.599 yeah watch the vod for new viewers the
02:09:29.440 last hour has kind of watered down the
02:09:31.440 the intensity of content in the first
02:09:33.440 hour but yeah
02:09:35.840 you were listening to the song it's carl
02:09:37.679 liser of course gosh all this is so dumb
02:09:40.719 to have to think about i agree brock but
02:09:42.719 the problem is trying to be a successful
02:09:45.199 artist in this day and age and play that
02:09:47.119 game like you know like
02:09:49.599 i mean how many people do we know that
02:09:51.360 make incredible content that just like
02:09:53.760 can't turn it into their career or
02:09:55.040 whatever because they don't play the
02:09:57.040 algorithm right so it's like there's a
02:09:59.040 huge capital pressure to play the
02:10:00.639 algorithm so that you can do what you
02:10:02.079 love and focus on that at least you
02:10:04.480 bring us some of the best microtunnel
02:10:05.840 music on the web don't focus too much on
02:10:07.360 the youtube algorithm here yeah i don't
02:10:09.760 that jacob collier thing was the first
02:10:11.440 algorithm game i ever tried
02:10:13.280 otherwise i just keep making the video
02:10:15.679 funny is the algorithm suggested me this
02:10:17.599 video just now at the end yeah isn't
02:10:19.599 that weird oscar
02:10:21.040 you only caught the last five minutes
02:10:22.639 you should watch all of it the first 30
02:10:24.400 minutes of this stream
02:10:26.000 is so fire
02:10:27.679 so
02:10:28.639 oh that would be really cool i'd love to
02:10:30.159 see someone combine some mount merry
02:10:31.760 scales with the prime modality stuff
02:10:34.000 saddest part for me is there's no
02:10:35.360 alternative to youtube even i know right
02:10:37.679 what is it youtube has 2.5 billion users
02:10:40.079 and tick tock has 1 billion users now
02:10:42.560 so tick tock is the third biggest we we
02:10:45.119 now have facebook is the biggest social
02:10:46.560 media platform
02:10:47.920 youtube is the second biggest i think
02:10:50.079 snapchat's the third biggest and then
02:10:51.679 the fourth biggest is tick tock and then
02:10:54.800 so let's think about that yeah go ahead
02:10:56.560 and like this video if everyone's here
02:10:57.840 if everyone here clicks like we'll go
02:10:59.199 over 100 and that'll help me on the
02:11:00.800 algorithm
02:11:01.760 okay but um
02:11:03.920 isn't that weird right i don't like it
02:11:06.480 as a viewer because i just want to see
02:11:07.679 new stuff and you get worn out when
02:11:09.040 everything i know see we went up to 94
02:11:11.199 likes thank you for pressing 102 likes
02:11:13.199 thank you all i appreciate that but yeah
02:11:15.360 i it's weird so let's see here so tic
02:11:17.679 noc tic toc now has a billion viewers on
02:11:19.760 it so another thing i'm supposed to do
02:11:21.599 in order to win the algorithm on youtube
02:11:23.199 is to start making youtube shorts
02:11:25.840 okay so i guess i'm gonna start doing
02:11:27.920 those because check this out
02:11:30.960 youtube is so big
02:11:33.840 when they turned on their shorts
02:11:36.400 they get 20 billion views a day on
02:11:40.400 youtube shorts
02:11:42.079 okay that is like way more than tick
02:11:44.400 tock way more
02:11:46.560 so
02:11:48.639 no no that's way more than twitch excuse
02:11:50.159 me that's like over like 10 times what
02:11:51.840 twitch gets like every day so youtube is
02:11:54.560 massive i don't know that the daily
02:11:55.920 views on take talk i imagine it has to
02:11:57.520 be over 20 billion right because
02:11:59.360 oh my camera died again but i imagine it
02:12:01.760 has to be over 20 20 billion right
02:12:04.480 because they
02:12:05.679 they have um where's my little
02:12:07.760 text box thing hold up let me just
02:12:09.360 duplicate this
02:12:13.040 it's got to be over um it's got to be
02:12:15.440 over a certain size right what do you
02:12:17.199 guys think the daily viewership on tick
02:12:18.719 tock is how many views
02:12:20.400 keeping in mind the views are
02:12:21.360 hyperinflated on that application
02:12:35.040 yeah um
02:12:38.079 at least 2 billion it's got to be more
02:12:39.920 than 2 billion because there's two
02:12:41.040 there's 1 billion users now on tick tock
02:12:43.760 and you think that if you just try to
02:12:45.199 leave the application it shows you three
02:12:47.040 views it shows you three videos even if
02:12:49.040 you don't want to watch them
02:12:51.119 there's i mean they've got to be if
02:12:53.440 youtube has 2 billion users and gets 20
02:12:56.000 billion views on shorts a day
02:12:58.719 and tick tock has 1 billion but their
02:13:00.639 whole thing are short videos and when
02:13:02.239 you try to back out it plays three i
02:13:04.480 mean they've got to have at least 30
02:13:06.400 billion views a day on there right
02:13:09.679 3 billion because it crosses platforms
02:13:11.280 too that's true
02:13:12.480 there's so many shorts that are trying
02:13:14.159 to just trick people into watching the
02:13:15.440 whole thing yeah i mean that's the whole
02:13:17.280 point of the algorithm so
02:13:21.040 it's crazy right it's like how can you
02:13:23.119 trick someone into clicking on the
02:13:24.159 content see for me i feel like i make
02:13:26.639 high quality content whether that's a
02:13:28.320 voice or music
02:13:29.840 and so it's um it's annoying because
02:13:33.199 to play the algorithm you have to
02:13:36.480 make high value content but then
02:13:38.159 represent it like it's not high value
02:13:40.079 content does that make sense like you
02:13:42.159 have to like click bait someone into
02:13:43.599 something but then deliver on the
02:13:45.040 content
02:13:46.079 but you could get even more views if you
02:13:47.760 just click baited period
02:13:51.440 shorts would be okay if the interface
02:13:52.639 yeah i haven't figured out how to do it
02:13:54.000 yet
02:13:55.599 like another thing using
02:13:58.719 community questions on youtube that
02:14:01.360 breaks the algorithm too
02:14:03.599 so if i just literally
02:14:05.280 post something any any random thing and
02:14:07.440 i turn it as a poll on
02:14:09.599 the youtube community page it will make
02:14:12.239 your channel perform better a lot of
02:14:13.920 people don't know that either
02:14:16.719 so
02:14:17.679 i think social media is i sound like a
02:14:19.840 boomer though social media is so bad to
02:14:22.000 kids these days and their
02:14:23.599 short attention span tech tocks videos
02:14:26.480 i like long form content too
02:14:28.639 the thing is though you're so strongly
02:14:31.679 discouraged from making long-form
02:14:33.280 content
02:14:34.960 by the algorithm unless you're already
02:14:36.719 big right like if you're big like if
02:14:38.400 you're like contra points she can make
02:14:40.480 long form content all day
02:14:43.520 you know
02:14:54.560 mm-hmm
02:14:55.920 let's see here
02:14:58.400 blew my mind when spiffing breath
02:15:00.400 started yeah i know a lot about this
02:15:02.320 stuff just because i um
02:15:04.400 not i know it but i don't play it very
02:15:06.639 often just because i actually feel like
02:15:08.800 it's like
02:15:09.840 i don't know it i don't like it it makes
02:15:12.159 me feel like i have brain worms when i'm
02:15:14.400 like
02:15:15.520 worrying about playing a machine like
02:15:18.239 it's like a slot machine
02:15:20.239 do you write for traditional instruments
02:15:21.840 oh yeah actually you know what's
02:15:23.520 interesting do you have a clarinet you
02:15:25.119 want to hear played absolutely do you
02:15:27.119 want to hear a clarinet concerto i wrote
02:15:28.880 a long time ago i got commissioned when
02:15:31.119 i was in university to write a
02:15:33.360 piece it's a percussion it's a clarinet
02:15:35.119 concerto for percussion ensemble and
02:15:38.960 clarinet i do have a actual recording of
02:15:42.000 it but i don't like the quality of it so
02:15:43.280 let me go ahead and play a midi version
02:15:45.360 of it let me let me find it
02:15:48.400 well she got big in the first place
02:15:50.000 because she wasn't making long-form
02:15:51.360 content right a lot of her stuff used to
02:15:52.560 be like five minutes ten minutes then
02:15:54.159 once she got bigger kind of moved into
02:15:55.599 like 20 minutes 30 minutes then she got
02:15:57.520 bigger and moved into like an hour in
02:15:59.199 like two hours right
02:16:01.040 so
02:16:02.079 um let's see here let me try to find
02:16:03.840 this clarinet concerto and i'll play it
02:16:05.920 for you all
02:16:09.520 um
02:16:10.400 i think long-form content is overrated
02:16:12.400 yeah sure i think long-form content
02:16:14.320 isn't overrated if it's good content
02:16:16.639 right i think if it's just long content
02:16:18.800 it's not
02:16:20.560 it doesn't necessarily mean anything but
02:16:22.639 long form content that's really high
02:16:24.079 value content is so awesome i love that
02:16:27.119 so this is called color flux it's a
02:16:28.960 clarinet concerto
02:16:30.880 let me find it
02:16:33.280 i haven't listened to it in ages
02:16:35.359 but i know i've got it lurking somewhere
02:16:37.359 on my machine i have to look back
02:16:39.200 through very old
02:16:41.439 old fl piece um
02:16:43.920 i think i found it color flux
02:16:47.920 clarinet
02:16:49.120 concerto
02:16:52.000 oh wait i have to go in my music theory
02:16:53.439 folder
02:16:55.000 [Music]
02:16:57.120 first mover advantage is big yeah let's
02:17:00.240 see i don't necessarily think she was
02:17:02.160 necessarily the first person to do like
02:17:04.240 philosophical video essays with
02:17:06.160 theatrical elements though i definitely
02:17:08.160 think she was the first mover
02:17:09.840 in certain ways but in other ways i
02:17:12.240 don't know i feel like that's kind of
02:17:13.760 been a popular format for a while let's
02:17:16.240 see
02:17:17.040 music theory
02:17:19.679 music theory i love music theory um
02:17:25.359 where's it at music theory
02:17:31.200 i think i'm going to crop off the last
02:17:32.879 hour because i really want this to i
02:17:34.240 really wanted to be like a short
02:17:36.000 start and stop so that people can learn
02:17:37.840 about prime modality easily so i'll
02:17:39.840 probably crop the last hour of this off
02:17:41.599 at some point
02:17:43.280 i think when i publish it or whatever
02:17:45.120 i'll do that but maybe not should i just
02:17:46.959 leave the whole thing up or what
02:17:51.519 yeah i think everyone's taking influence
02:17:52.879 from that like theatrical thing i know i
02:17:54.398 want to do video essays not music theory
02:17:56.718 but i want to do video essays um
02:17:58.760 [Music]
02:18:00.160 i want to do video essays more for
02:18:01.920 certain thing
02:18:03.120 is this it colored thoughts
02:18:05.599 oh this is old old music
02:18:08.160 what is this
02:18:12.318 oh that's not what i'm looking for
02:18:15.280 music theory
02:18:16.959 music theory and sheet music here we go
02:18:19.040 i have the score for it color flux here
02:18:21.519 we go
02:18:22.638 what is
02:18:23.290 [Music]
02:18:36.879 i wonder if i can find the whole thing
02:18:38.799 there's like one excerpt of it there's
02:18:40.799 like a percussion break
02:18:42.558 let's see
02:18:43.519 so it was a percussion ensemble with
02:18:45.280 clarinet
02:18:53.790 [Music]
02:19:04.318 the score is a bit messy
02:19:06.718 i think i can turn it on
02:19:11.599 how many performers
02:19:14.950 [Music]
02:19:40.718 i'll try to find the whole version of it
02:19:42.398 somewhere but here's the clarinet part
02:19:43.920 it's a bit messy i engraved this a long
02:19:46.318 time ago so i wasn't as good at the time
02:19:48.478 but
02:19:49.200 it's definitely readable
02:19:51.120 um and uh it's it's a it's a pretty
02:19:53.760 challenging piece but the performer
02:19:55.760 kelly niyama dr niyama performed it and
02:19:58.240 she was very good at it so
02:20:00.160 that was cool i wasn't a super big fan
02:20:02.720 of the percussion ensemble that
02:20:04.640 performed it at the time let me go ahead
02:20:07.120 and i'll see if i can pull up the whole
02:20:08.560 score where's it at um
02:20:11.840 let me turn this little screen off here
02:20:13.840 and then go
02:20:15.120 the score the score revised is this it
02:20:19.120 see yeah yeah okay
02:20:21.520 um here we go
02:20:24.479 so this was my this is uh quite a this
02:20:27.600 was commissioned it was a commission
02:20:29.760 project uh it was commissioned by the
02:20:32.960 percussion by dr finney and kelly nyama
02:20:36.000 for the indiana state percussion
02:20:37.840 ensemble
02:20:39.920 and it
02:20:40.960 starts out with this really cool section
02:20:44.080 where it's like the ensemble is
02:20:45.760 producing like a rainstorm you guys know
02:20:47.600 that's kind of a thing in my music you
02:20:49.760 know we were just listening to hex and
02:20:51.200 there's a lot of that so it starts out
02:20:53.359 let's see parts there's clarinet part
02:20:56.399 mallet one mallet two mallet three
02:20:58.399 and then three percussionists um and
02:21:00.960 some of this is kind of messy i think
02:21:02.240 this is not exactly the
02:21:04.080 the
02:21:04.960 most
02:21:05.840 matured version of the score like we can
02:21:07.920 see that's kind of messy there but this
02:21:09.600 is one that i could pull up so what is
02:21:11.520 this like 41 pages or something like
02:21:13.600 that so this was a
02:21:15.520 this is a fun fun piece oh this section
02:21:17.600 is cool a little contrapuntal action
02:21:19.600 going on here
02:21:20.960 um i'll try to find the audio file for
02:21:23.840 it
02:21:24.640 but this is color flux and it's a
02:21:26.479 clarinet concerto
02:21:28.160 with percussion ensemble backing
02:21:31.040 so
02:21:32.640 so yes i have composed for for acoustic
02:21:35.280 instruments
02:21:36.479 although a bit less
02:21:41.200 ah
02:21:42.240 i'm trying to turn my camera back on
02:21:44.399 i think i got it hello am i alive does
02:21:47.359 it work
02:21:48.240 yeah i'm like crooked because i was like
02:21:49.280 trying to turn it on i messed it up
02:21:53.040 okay here we are it's so hot in here too
02:21:56.160 let's see um what engraving software
02:21:58.720 back then i use finale i wouldn't use
02:22:00.240 finale now i hate finale uh kelly wife
02:22:04.160 of charles nyaday i'm not sure do you
02:22:06.240 know her from iu because it was like an
02:22:07.920 iu thing and yes actually the the piece
02:22:10.479 opens with multiphonics m so yes i've
02:22:13.200 actually written multiphonics for
02:22:14.560 clarinet i i composed that in 2013 i
02:22:17.120 think so definitely not my best piece
02:22:18.880 but
02:22:19.600 it was a good work
02:22:20.880 if oscar if you're thinking of kelly
02:22:23.040 from the iu space that's
02:22:25.359 that's who it is
02:22:27.600 she's a great player
02:22:29.200 great clarinetist she handles her
02:22:30.960 mid-range so so so good
02:22:34.640 yeah i would probably use the rico
02:22:37.200 honestly i kind of always liked sibelius
02:22:38.880 but i never had it never owned it or
02:22:40.240 never used it really so
02:22:42.960 kind of is what it is you know
02:22:45.120 oh yeah i have a better version of the
02:22:46.640 score there i just found
02:22:48.240 um
02:22:49.359 because they ended up performing it at
02:22:50.560 some
02:22:51.600 they ended up swimming oh you actually
02:22:53.920 want to perform it i bet i could do like
02:22:56.080 um a digital version for you like a
02:22:58.560 backing track for it but like a good one
02:23:00.560 or maybe you perform a solo of it or
02:23:02.479 something or
02:23:03.520 yeah if you want to or if you want to do
02:23:04.880 it with percussionists that'd be cool
02:23:06.560 let me know where we can get in contact
02:23:08.000 formally yeah sure um email me here this
02:23:10.880 is like my this email i use strictly for
02:23:13.120 like music stuff
02:23:14.560 so amelia eros music for sure i haven't
02:23:17.200 i don't think it's been performed for
02:23:18.880 maybe five years six years that's really
02:23:20.960 cool that you're you're in here though
02:23:22.800 um these days i just mostly compose
02:23:24.640 micro tonal and so a lot of people can't
02:23:26.720 play micro tonal so i tend to not
02:23:29.120 compose too much for traditional
02:23:30.640 instruments but i i did a lot of
02:23:32.000 composition in that way clarinet i
02:23:34.319 learned so much from composing for
02:23:35.920 clarinet specifically i learned about
02:23:38.319 register more on clarinet than anything
02:23:40.319 else because the clarinet feels so
02:23:43.120 heterogeneous as you move through its
02:23:45.200 space you know whereas like the the
02:23:48.319 cello is very homogeneous when you're
02:23:49.920 moving up and moving down it's like it
02:23:51.840 sounds like the tone is preserved across
02:23:54.399 whereas the to me the
02:23:57.040 the clarinet really has such distinct
02:23:59.120 areas of its range that all sound very
02:24:01.840 beautiful but very different
02:24:04.240 you know
02:24:05.200 um oh i'm seeing my old arrangements i
02:24:07.520 did a cool arrangement of
02:24:09.920 what was that i did a cool arrangement
02:24:11.680 of schubert work at one point oh and i
02:24:14.560 did some did some scoring for a metal
02:24:16.319 band i used to do like you know like
02:24:18.240 metal bands need strings for their stuff
02:24:19.840 and they don't know how to do it so
02:24:21.680 i used to do that
02:24:24.800 wood one section is a whole mess i agree
02:24:26.880 i agree completely you know i didn't
02:24:28.800 know it at the time that the clarinet
02:24:30.240 was like an odd harmonic instrument but
02:24:32.080 now i know it and it's like ah
02:24:33.840 everything makes so much more sense
02:24:36.319 how it overblows and behaves and
02:24:38.000 everything
02:24:39.040 i wish i could find this piece ooh
02:24:40.880 splendora i forgot about that piece
02:24:43.680 color flux
02:24:45.280 um
02:24:46.800 i wish i could find okay when was this
02:24:48.399 2014 i'm gonna go try and find the whole
02:24:50.160 thing so i can play it on stream
02:24:51.920 i do have a meeting i have to get to a
02:24:53.359 little bit later i don't know if dusty
02:24:54.960 nebula or the nebula system is still
02:24:57.120 here um
02:24:58.479 but i need to go have a chit chat
02:25:01.120 with them shortly so let me do a little
02:25:03.840 bit more here and then i shall fly away
02:25:07.040 into the ether
02:25:08.640 and who knows how long it'll be till i
02:25:10.000 stream again okay let's see 2014 is what
02:25:13.280 i'm looking for it seems
02:25:15.200 do we find it oh i think i've
02:25:17.200 no that's all 2015. what would have came
02:25:19.600 before this so there's that that's 2015
02:25:23.200 stuff would it be here
02:25:25.600 here we go i think i maybe found it
02:25:28.960 2012 2013
02:25:32.000 and then what's this key your car
02:25:34.479 i made a song called key your car
02:25:37.520 should i click play i don't know if it's
02:25:38.800 going to be ridiculous or not
02:25:46.790 [Music]
02:25:51.040 oh i know exactly what this is oh my god
02:25:53.040 this is ridiculous so i had a friend who
02:25:55.520 got harassed by this person
02:25:57.760 and when this person harassed them and
02:26:00.479 kind of had their
02:26:01.920 last explosion they ended up recording
02:26:04.080 the person screaming and then i was
02:26:06.880 trying to help my friend get over that
02:26:09.040 so i took that scream of their kind of
02:26:11.120 harasser and i put it in a dubstep drop
02:26:14.160 and it's called key your car
02:26:16.280 [Music]
02:26:24.160 it's like some mountain dew kind of
02:26:25.760 stuff you know what i mean so but it was
02:26:27.200 just it was a meme a long time ago but
02:26:29.920 it was someone who kind of
02:26:31.600 who kind of hurt a friend of mine and
02:26:33.600 they got recorded when they did it so i
02:26:35.680 put him in a dubstep drop
02:26:38.479 and uh yeah i forgot all about that i
02:26:41.280 wasn't intending to play that on stream
02:26:43.359 um
02:26:46.840 oh i do make musical memes yeah it's
02:26:49.680 like mountain dew oh here we go
02:26:52.640 ready go
02:26:55.760 oh some steel pants i used to be in a
02:26:57.680 steel band
02:27:00.850 [Music]
02:27:11.280 i had a soul over this or whatever so
02:27:12.880 they had to record a backtrack for me to
02:27:14.479 come or something like that maybe
02:27:15.840 someone else had the silver i forget i
02:27:17.920 think i was playing bass at the time
02:27:19.280 actually so
02:27:20.560 no um although there is a really gnarly
02:27:23.120 bass solo if you guys have heard
02:27:26.240 ah what is that song called
02:27:28.479 um
02:27:30.800 panorama no it was performed at panorama
02:27:33.520 i forget they're just really famous
02:27:34.800 steel pan piece that has the nastiest
02:27:36.560 bass solo ever
02:27:38.640 it was so it was just so fire violin
02:27:41.359 oboe
02:27:42.479 here's a piece i i
02:27:44.160 i composed for violin and oboe and
02:27:46.080 electronics it's pretty good i don't
02:27:48.240 know if i have the actual full recording
02:27:49.840 right now microtunnel steel pans um
02:27:52.800 piano tech can do that actually pretty
02:27:54.399 good i was doing that the other night
02:27:56.160 uh wait i'm trying to find this 2014 i
02:27:58.960 want to find color flux because there is
02:28:00.880 actually a recording of it that's
02:28:02.160 audible i'd love to show that clarinet
02:28:04.160 performer here and chat the piece so
02:28:07.120 they can know what they're getting into
02:28:09.920 it's kind of got some tricky rhythms
02:28:11.280 here and there but it's it's definitely
02:28:13.040 playable um
02:28:14.800 i think some parts of it are probably
02:28:16.080 not super idiomatic just because at the
02:28:17.680 time i was a beginner writing for the
02:28:19.120 instrument but i think over time as i
02:28:21.840 wrote more of the score it became
02:28:23.040 increasingly more idiomatic for the
02:28:25.200 performer
02:28:27.280 let's see
02:28:28.479 where would i have put it
02:28:30.720 oh dreamscape what is this
02:28:36.479 we love this
02:28:39.040 different sections of dreamscape
02:28:41.359 fourth seven eight midi marimba excerpt
02:28:44.640 yeah all right sounds great oscar thanks
02:28:47.040 for uh that offer
02:28:48.640 i still want to know where that file's
02:28:50.240 at though i feel like it's been forever
02:28:52.240 since i listened to it
02:28:55.040 oh here's some old music
02:28:56.960 i've made way too much music
02:28:59.600 i don't know what to do with all of it
02:29:00.800 other than just
02:29:02.560 a wizard float do you guys wanna hear
02:29:04.399 wizard float this is a meme
02:29:07.040 this is like what
02:29:08.880 2012.
02:29:10.640 there's like there's like a metal demo
02:29:12.319 wizard float i just like the name of it
02:29:19.680 kind of weird
02:29:24.470 [Music]
02:29:34.240 weird stuff
02:29:36.300 [Music]
02:29:41.670 [Music]
02:29:48.160 i couldn't play guitar at the time so i
02:29:49.600 would just punch everything in you know
02:29:50.720 because i like a baddie a guitar but i
02:29:52.800 wanted to compose still oh what's this
02:29:54.960 grain stuff we do love grains
02:30:00.960 oh just some basic granular synthesis
02:30:03.040 stuff
02:30:04.399 gosh that was fun okay everyone oh this
02:30:06.560 piece a piece i never finished
02:30:08.640 this piece makes me sad i never finished
02:30:10.399 this no that wasn't well i guess it kind
02:30:12.240 of was unreleased that never got
02:30:14.080 anywhere for real there's like real
02:30:15.920 unreleased sirens it's like pretty good
02:30:18.240 but that wasn't it that was just like me
02:30:20.080 like noodling around one night wizard
02:30:21.680 floating
02:30:22.880 this piece actually makes me sad i
02:30:24.319 didn't release i i ended up destroying
02:30:26.399 the project file
02:30:27.840 and i would love to release it
02:30:30.319 is this it yeah
02:30:33.120 it's called pulse and for some reason
02:30:34.880 for years and years i've wanted to make
02:30:36.160 a song called pulse and i just never
02:30:37.359 have
02:30:38.160 it's kind of quiet hold up
02:30:41.680 it's like a minimal thing
02:30:48.820 [Music]
02:31:04.560 this is the piece that got away you know
02:31:06.479 what i mean some pieces that get away
02:31:08.240 without being finished
02:31:09.760 and this one was one of
02:31:12.840 those 2012
02:31:16.479 i remember i started composing this
02:31:18.399 before a concert
02:31:20.319 i had an orchestral concert that night
02:31:22.560 and i sat with my laptop three hours
02:31:25.439 before the performance
02:31:27.439 my headphones on at a table and i wrote
02:31:30.160 this never touched it since it got away
02:31:32.720 the project file i messed it up or
02:31:34.479 whatever
02:31:40.080 this little noise that's coming up is so
02:31:42.479 pretty but it was it was randomly
02:31:44.800 generated so i can't like get back to it
02:31:55.359 right here right here
02:31:58.200 [Music]
02:32:18.870 [Music]
02:32:44.800 i love it it's just so simple but so
02:32:46.960 pretty
02:32:50.800 the sound was randomly generated in an
02:32:52.880 old vst called
02:32:55.520 plant
02:32:56.880 i think that's why it's called sin plant
02:32:58.880 it's like an algae it's like a it's like
02:33:00.640 a weird generated thing i don't know how
02:33:02.399 to describe it sin plant was cool
02:33:05.359 but it broke and i lost all this
02:33:10.960 i forgot i don't even know what comes
02:33:12.240 next that might just be it
02:33:13.440 [Music]
02:33:15.520 does it drop back in
02:33:18.000 maybe
02:33:20.080 anyways there's pulse it's one of those
02:33:22.000 songs that got away from me i wrote it
02:33:23.680 one night um and it never came back
02:33:26.399 what's this
02:33:27.840 is this something
02:33:32.160 [Music]
02:33:38.750 [Applause]
02:33:40.090 [Music]
02:33:43.470 [Applause]
02:33:46.160 i don't know why i wrote it 23rd 2013.
02:33:50.319 some experimental stuff i guess
02:33:58.100 [Music]
02:34:04.750 [Applause]
02:34:04.850 [Music]
02:34:15.520 i don't make sense
02:34:23.280 [Applause]
02:34:29.830 [Music]
02:34:31.760 yeah i always had the kick so loud
02:34:33.600 what's this me and travis i don't know
02:34:35.439 what this is
02:34:37.520 oh there's this awesome guitarist a long
02:34:40.240 time ago he came over one night and we
02:34:42.000 just wrote this he was on tour and his
02:34:44.080 band was weird crossing paths and so we
02:34:46.560 just wrote this together
02:34:50.520 [Music]
02:35:00.880 there's actually one cool part in the
02:35:02.160 subject where it's at them
02:35:05.450 [Music]
02:35:16.399 just some noodles
02:35:19.030 [Music]
02:35:22.720 take care of tom it was great having you
02:35:28.479 this is the old thing
02:35:29.760 there's this part here though
02:35:31.990 [Applause]
02:35:34.160 oh here we go this is like the coolest
02:35:35.439 part of it this is the only reason i
02:35:36.560 like this song at all
02:35:41.420 [Music]
02:35:45.280 so
02:35:56.640 i love this ambient stuff
02:36:00.760 [Applause]
02:36:02.070 [Music]
02:36:08.720 that's kind of nice i love hammock
02:36:10.479 hammock used to be one of my favorite
02:36:11.600 bands ever i used to write stuff like
02:36:13.520 this all the time
02:36:14.960 i don't know if you guys have heard my
02:36:15.920 ambient rock music
02:36:19.439 like this kind of stuff
02:36:21.439 it's like country rock i used to like
02:36:23.200 write like ambient country rock all the
02:36:25.359 time i don't know why
02:36:26.820 [Music]
02:36:33.200 it's called my old project used to call
02:36:34.720 it called eva the atma i wrote an entire
02:36:37.359 album of it post rock stuff i bet i can
02:36:39.680 pull up the actual good stuff this was
02:36:41.120 like demos of it
02:36:44.940 [Music]
02:36:54.319 where would i find all this music at
02:36:55.840 there's actually some really good pieces
02:36:57.040 here one of them in particular
02:36:59.280 [Music]
02:37:01.840 this is like i sucked at playing guitar
02:37:03.439 but i like played guitar so i could make
02:37:04.960 ambient rock because
02:37:06.399 i went through like a three year long
02:37:09.439 i went through a three year long
02:37:12.880 hammock phase i don't know if you guys
02:37:14.880 are into hammock but
02:37:17.359 i got hooked on hammock and i was like
02:37:18.960 hooked on them for years and years and
02:37:21.040 years and years here we go
02:37:23.760 so the album
02:37:25.439 here we go can i find it no
02:37:27.680 2011 is when i finish this post rock
02:37:30.000 album
02:37:31.040 is the music still
02:37:32.479 possible to access right now that's what
02:37:33.920 i'm curious about
02:37:35.600 please say it is
02:37:37.280 yes here you go here's some of that so
02:37:40.640 this one is balance
02:37:42.960 what is this no i don't want to
02:37:44.319 share it i want to play it okay
02:37:47.120 heva
02:37:48.399 balance
02:37:50.319 it's just a giant it's a giant hammock
02:37:52.319 ripoff but with more country rock
02:37:55.280 here we go
02:37:56.560 starting with crickets the storms what
02:37:58.240 can i say i'm a creature of habit it
02:38:00.479 brings me back to the midwest
02:38:03.600 this is
02:38:05.600 2011 i played everything
02:38:11.120 just some real basic stuff
02:38:19.439 that is what it is crickets that's right
02:38:30.800 this project is where i discovered my
02:38:32.319 love of bass
02:38:34.930 [Music]
02:38:37.120 because i feel like the bass guitar led
02:38:38.800 everything
02:38:40.240 and it was the first time i ever played
02:38:41.439 bass guitar
02:38:49.520 [Music]
02:38:54.720 based on what i love that
02:38:59.200 if you could give a rough estimate
02:39:04.399 of how much of your music was ever in
02:39:06.560 standard 12 video what would you give
02:39:09.520 95
02:39:10.420 [Music]
02:39:12.960 i've only been micro tone for the last
02:39:14.479 two years i've been composing music for
02:39:16.319 15 years
02:39:17.600 i used to write music 16 hours a day
02:39:19.760 almost every single day of my life
02:39:22.560 or study it or go to school for it
02:39:25.439 i just constantly wrote music
02:39:27.840 so by far i have a way more time in 12
02:39:30.479 video
02:39:32.560 but i'm trying to change that over time
02:39:39.520 this is actually kind of nice i still
02:39:41.120 like this sounds good
02:39:47.760 some violin i tried to play it's
02:39:49.280 probably out of tune
02:39:56.240 so you get it you get it it's that then
02:39:58.640 there's this which is more like a
02:39:59.600 country rock kind of tune
02:40:00.760 [Music]
02:40:04.640 it's like a very mixolydian energy such
02:40:06.720 a good bass tone what'd you track this
02:40:08.240 through
02:40:09.200 i think a pod
02:40:11.120 yeah i know that baseball is fat i agree
02:40:13.359 that's when i learned to love bass
02:40:17.279 this was made in 2010 late 2010
02:40:23.230 [Music]
02:40:27.600 i played everything in this
02:40:29.680 program
02:40:31.040 the base and this is also really fat
02:40:34.720 i want to do microsoft effect i mean
02:40:36.880 okay hold on where's the micro tunnel
02:40:38.960 country rock did you listen to sola
02:40:41.120 sola is about the closest thing i've
02:40:42.720 ever heard to like folk country micro
02:40:45.200 tonal progressive pop it's a weird mix i
02:40:48.319 feel like it's so folky and country at
02:40:50.399 the same time even though it's like you
02:40:52.240 know
02:40:54.120 [Music]
02:41:07.430 [Music]
02:41:11.120 oh this isn't mono it's very stereo on
02:41:13.120 the actual recording so yeah
02:41:15.600 [Music]
02:41:34.800 so
02:41:36.150 [Music]
02:41:54.640 oh my god
02:41:59.080 [Music]
02:42:01.040 anyways there's eva i forget what this
02:42:03.120 one sounds like
02:42:04.920 [Music]
02:42:06.080 this one's like country out the wazoo
02:42:10.319 kinda
02:42:11.560 [Music]
02:42:16.319 yeah that was my fifth album i ever made
02:42:18.479 i don't count those as my actual albums
02:42:20.240 i so in case you guys don't know i count
02:42:22.240 my first
02:42:23.520 full-length album as being my
02:42:25.760 my first full-length album is actually
02:42:27.840 my uh sixth full-length album
02:42:30.960 so
02:42:31.680 i wrote six albums before i actually
02:42:33.760 released what i dubbed as my first
02:42:35.600 full-length album um and yeah
02:42:39.359 and i'll probably never share the other
02:42:40.640 ones um because they're just too old but
02:42:44.319 so
02:42:45.840 they're forgotten they're amongst the
02:42:47.600 wasteland of music my graveyard of
02:42:50.080 sounds and um
02:42:52.160 yeah that was that was i don't know four
02:42:54.000 or five albums after i got started
02:42:57.120 my negative yeah exactly that's my
02:42:58.720 negative fourth that's how i'm going to
02:43:00.000 start saying it that's my negative
02:43:01.760 fourth album you like that i'll play
02:43:03.040 some more of it
02:43:04.800 how does it start it starts like this
02:43:11.200 it's kind of a vibe
02:43:17.439 this shit's fun to play
02:43:19.120 [Music]
02:43:21.040 me playing violin i was a little baby
02:43:23.040 violinist
02:43:30.560 so i buried it in the background
02:43:36.960 yeah this is pretty much country isn't
02:43:38.720 it yeah i love it though
02:43:41.640 [Music]
02:43:49.279 that was like five weeks of playing
02:43:51.359 violin
02:43:57.160 [Music]
02:44:15.680 welcome
02:44:16.840 back that's cool i didn't know beethoven
02:44:19.520 did that with his with his uh things
02:44:24.319 that was actually pretty good
02:44:26.640 i bet i could make an album like this
02:44:28.479 and do it really well and then it'll
02:44:30.080 become my most popular album ever
02:44:31.840 created i would almost bet money on it
02:44:34.080 and that's the sad part of living
02:44:37.359 you guys agree if i did this but i did
02:44:39.680 it really high production
02:44:41.600 i better blow up
02:44:46.170 [Music]
02:44:51.600 some slide guitar
02:44:53.590 [Music]
02:45:00.720 oh yeah i guess it was never mind it
02:45:02.960 just sounds like slide guitar first
02:45:10.399 so there you go that's eva early project
02:45:12.640 that's my negative fourth album i've
02:45:14.080 ever made um
02:45:15.600 so i guess that means that my fifth
02:45:16.800 album coming up is actually my tenth
02:45:18.880 album so that's kind of cool
02:45:21.439 yeah how's the lumatone situation
02:45:23.359 amazing they sent me a new lumatone
02:45:25.279 brand new and it works amazing and it
02:45:27.120 feels better than the other one too and
02:45:29.200 i've got over there now instead of down
02:45:30.720 here just because i was doing a project
02:45:32.720 for a friend of mine and i had to
02:45:33.920 perform some piano on their album and
02:45:37.840 i i recorded a lot of it first with
02:45:40.080 lumatone and there were some parts i
02:45:42.720 needed to shred and i can't shred on the
02:45:44.240 lumatone yet although i'm actually
02:45:45.920 getting way better i actually i'll do a
02:45:48.000 lumitone stream again soon
02:45:50.399 i really love
02:45:52.319 i feel like in the last week or two i've
02:45:54.399 played more lumatone than ever and i
02:45:56.160 feel like i've gotten way better at it
02:45:58.640 so there's there's that i've also been
02:46:00.640 practicing
02:46:01.680 i'm gonna be doing um a cover no i guess
02:46:03.600 not a cover but a rendition uh
02:46:06.160 arrangement of
02:46:07.840 of dannyboy in 31.
02:46:18.399 um
02:46:25.520 oh i love danny boyce so much so i'm
02:46:27.840 going to be doing a singing i'm going to
02:46:29.680 sing and play lumatone 31
02:46:33.040 on um
02:46:35.840 really wait on one of my own songs it
02:46:38.080 had a copyright right claim i think
02:46:40.319 there was one stream where i played now
02:46:42.560 which is a soul artist so if it was a
02:46:45.040 live stream i did play copyrighted music
02:46:46.800 once on a live stream let me know if it
02:46:48.640 was one of my main pieces though
02:46:50.960 so and then i'll try to avoid that
02:47:05.530 [Music]
02:47:16.720 so
02:47:30.479 oh
02:47:36.960 lumatone no sound you guys don't hear
02:47:38.319 that right now
02:47:39.359 oh you guys didn't know i'm over here
02:47:40.640 playing oh it's not the luma tone i've
02:47:42.800 got a keyboard in front of me hold up
02:47:44.240 let me try this let me see if
02:47:47.120 now you guys can hear it right
02:47:49.439 seems to be good now
02:47:51.359 i think you all were just pulling my leg
02:47:53.760 oh you can't hear it when i do it that
02:47:55.200 way bummer because that way has no
02:47:57.120 latency and this one has latency
02:47:59.520 oh well i'll try and do
02:48:00.960 i'm not playing louboutin lumeton's over
02:48:02.399 there i actually want to play lumatone
02:48:04.160 for this because i've been practicing it
02:48:05.680 on lumatone but you know i can play it
02:48:07.760 on 12 video piano too
02:48:10.000 oh it's so latent though
02:48:19.439 hmm
02:48:25.300 [Music]
02:48:35.760 oh
02:48:45.260 [Music]
02:49:11.439 you can hear now right okay
02:49:14.319 are you putting any of the are you are
02:49:16.479 you putting up any of this yeah i'm
02:49:17.840 going to put up all of this the whole
02:49:19.200 point of the stream i'm probably going
02:49:20.240 to delete the last two hours of the
02:49:21.920 stream actually
02:49:23.840 because the whole point was i was going
02:49:25.040 to stream for 30 minutes and talk about
02:49:26.479 theories of prime modality
02:49:28.160 then i did and then people were still
02:49:30.080 here
02:49:33.540 [Music]
02:50:08.319 sure i guess that's true wade
02:50:18.280 [Music]
02:50:34.960 oops
02:50:40.479 who said this was 12 edo
02:50:46.880 who said this was 12
02:50:49.840 someone thinks this is 12 video
02:50:52.880 it's close it's very very close it's an
02:50:54.880 ultra high resolution ji thing that's
02:50:57.520 pretty much 12 video it's my highest
02:50:59.760 harmonic segment thing
02:51:03.279 you're over here thinking it's 12v how
02:51:04.800 do you think do you think 12 videos
02:51:05.920 don't know um it's it's pretty much full
02:51:08.240 video just a little more ji
02:51:10.800 let's see here oh
02:51:14.640 here i actually want to switch pianos
02:51:19.840 kind of like the tone here better
02:51:22.399 this is 12 video
02:51:24.720 [Music]
02:51:36.080 doesn't that sound way worse
02:51:37.180 [Music]
02:51:40.720 i can't get lost in that
02:51:43.760 uh let me go here
02:51:46.800 what about this sound
02:51:47.820 [Music]
02:51:55.439 no i mean it was 12. it was like a 12
02:51:57.279 note framework
02:52:02.560 [Music]
02:52:07.120 i will go to 12 now
02:52:11.600 [Music]
02:52:14.080 but i like if i'm going to do 12 i turn
02:52:15.920 sympathetic resonance up a lot because
02:52:17.760 then it becomes ji just based on its
02:52:19.279 kind of sympathetic sympathy
02:52:48.000 at first i was using a ji that's on 512.
02:52:50.880 everything is basically down to like 0.2
02:52:54.319 or 0.3 cents of 12 video so you you're
02:52:58.240 pretty accurate with it
02:53:00.319 i very rarely play in pure 12. i'm in
02:53:02.640 pier 12 right now though
02:53:04.490 [Music]
02:53:24.160 oh
02:53:25.040 how about that
02:53:29.580 [Music]
02:53:56.399 so
02:54:09.170 [Music]
02:54:16.830 [Applause]
02:54:17.390 [Music]
02:54:57.680 someone's trying to claim gossamer is
02:54:59.760 theirs
02:55:01.439 okay now you got me interested
02:55:05.760 okay that
02:55:07.600 is extremely interesting um
02:55:09.290 [Music]
02:55:10.880 no way gossamer has a counter-strike
02:55:13.439 claim on it let me check
02:55:18.399 oh my god it does
02:55:20.800 oh my what's this
02:55:23.279 yeah uh no counter-claiming the hell out
02:55:25.760 of that right now that is crazy thank
02:55:29.200 you for catching that gossamer has a
02:55:31.439 copyright claim on it that is literally
02:55:34.399 insane and it makes me want to burn
02:55:36.960 the
02:55:38.000 it's probably automatic with an
02:55:39.439 algorithm it makes me want to burn
02:55:41.040 youtube to the ground i'm going to go
02:55:42.160 and like nevermind i was gonna say
02:55:43.520 something that i probably shouldn't say
02:55:44.479 probably okay let's see
02:55:46.160 um that's
02:55:48.000 crazy crazy crazy crazy that is actually
02:55:50.240 the craziest thing i've heard all day
02:55:51.439 hold up
02:55:52.399 gossamer gossiper does not sound like
02:55:54.720 anybody else's music period that is some
02:55:56.640 cracked out music let's see here
02:55:58.399 copyright claim
02:56:00.240 your video
02:56:02.880 i can't actually just claim i can't
02:56:04.560 counter claim right now
02:56:06.479 you know
02:56:08.240 what is this what is this crap
02:56:10.560 select action
02:56:12.720 dispute
02:56:17.520 my dispute isn't based i would still
02:56:18.960 like to con
02:56:20.000 are you serious i'm doing a claim on
02:56:21.600 this right now this is original content
02:56:25.200 okay review requirements you can
02:56:28.319 confirm everything is yours it is yeah
02:56:30.240 of course find out who claimed the
02:56:31.600 content some crackpot
02:56:33.600 okay contact claim is my original it
02:56:35.600 does not include anyone else's work true
02:56:37.920 uh this is literally this is literally
02:56:40.000 my piece
02:56:41.439 you are all you are all insane and i
02:56:44.560 hate this stupid computer dmca crap
02:56:48.000 the mca crap gossamer was composed
02:56:51.200 between 2011 and 2012 as a
02:56:55.359 centerpiece
02:56:57.120 to my first album dream surah
02:57:01.520 it is entirely my own music
02:57:05.840 and this is stupid okay
02:57:09.359 perfect
02:57:11.120 uh-huh
02:57:14.160 signature full legal name yeah
02:57:20.160 and let me also see who this who this
02:57:22.240 person who who let me go listen wait i
02:57:24.640 won't listen to the thing that caught me
02:57:26.000 copyrighted right because then they'll
02:57:27.120 try and be like oh we're gonna copyright
02:57:28.880 your thing now i can't believe that i'm
02:57:31.120 going to
02:57:33.439 that's crazy that's actually crazy
02:57:36.479 hold up
02:57:38.479 you are all insane i hate this stupid
02:57:40.000 dmca crap leave me alone gossamer was
02:57:42.560 literally composed
02:57:46.720 let's sing a piece of time oh music and
02:57:48.319 this is stupid
02:57:50.399 a piece claimed
02:57:58.000 okay
02:57:59.040 there's that okay i submitted a counter
02:58:00.720 claim
02:58:01.600 i'll be going down if oh god to even try
02:58:04.720 and say that just is so offensive to me
02:58:07.279 god why would i want to copyright that
02:58:08.800 trash song or why would i want to copy
02:58:10.640 someone's trash song like that you know
02:58:12.800 what i'm saying
02:58:13.920 like you they what is this crap
02:58:16.560 i can't believe it
02:58:18.399 that's crazy
02:58:20.180 [Music]
02:58:21.760 how about we all listen to so what if i
02:58:23.760 listen to gossamer on the stream there's
02:58:25.279 a stream getting it flagged as copy
02:58:26.640 right now i hope this
02:58:28.399 you are actually stupid that's pretty
02:58:29.840 much what i did there is no way that
02:58:31.760 gosmore sounds anything like that piece
02:58:33.439 gossamer is like the dumbest form ever
02:58:35.760 it's literally like a three you know
02:58:37.359 what if gossamer is copyrighted
02:58:40.560 sirens
02:58:44.560 that one siren song should be
02:58:45.840 copyrighted too because gosmer is inside
02:58:47.760 of it let's see
02:58:50.080 what's that sound called again
02:58:52.319 okay
02:58:53.200 what is this crap yeah this isn't
02:58:55.439 copyrighted it's got 280 000 views or
02:58:58.319 whatever it's not copyrighted that is
02:59:00.399 insane that is literally insane and i
02:59:03.120 hope that these people wake up in the
02:59:05.040 morning and have diarrhea
02:59:11.439 i hope they're either constipated or
02:59:14.080 diarrhea
02:59:21.340 [Music]
02:59:35.680 how about both
02:59:38.240 yeah let me turn my camera off that one
02:59:39.439 probably died this time
02:59:46.150 [Music]
03:00:27.760 hmm
03:00:29.830 [Music]
03:00:52.399 i feel like every time i play 12 video i
03:00:54.000 have to play pure imagination
03:00:56.670 [Music]
03:01:19.279 you know what i gotta get the chart for
03:01:20.640 that i guess i can try and change
03:01:22.399 batteries again i'll let my camera chill
03:01:23.840 out i should probably end this stream
03:01:25.120 it's going way longer than i thought i
03:01:26.240 need to eat food
03:01:27.600 pure imagination i need to eat food
03:01:32.240 let's see here let me get a little chart
03:01:33.760 for this so i feel like pure imagining
03:01:35.359 out of my mind i feel like i never
03:01:38.000 remember
03:01:39.760 the charts for things because i always
03:01:42.399 never play them
03:01:44.240 i always like just improvise and i can't
03:01:46.640 focus my adhd to learn the charts
03:01:48.640 properly
03:01:49.760 so i just i kind of loosely know how it
03:01:52.000 goes i've even written it down like five
03:01:53.520 times
03:01:54.319 in my little book but
03:01:56.240 alas
03:01:58.319 you know it's actually crazy that
03:02:00.399 gene wilder wrote this
03:02:02.479 did you guys think that's pretty crazy
03:02:03.840 like he's an actor or whatever and he
03:02:05.279 like actually wrote this if i i could be
03:02:07.359 wrong pretty sure right no i guess maybe
03:02:09.359 he didn't write it i thought he did
03:02:11.200 because this chart says leslie bruce and
03:02:13.760 anthony newley but i thought i thought
03:02:16.479 uh
03:02:17.279 i thought was his face wrote it i guess
03:02:18.720 i'm wrong okay so c sharp seven sharp
03:02:20.720 nine
03:02:21.760 and then it's this little lovely little
03:02:23.120 g major thing that's like
03:02:24.880 um
03:02:27.040 okay right and then we get into the a
03:02:28.560 flat thing see i always remember the a
03:02:30.240 flat thing but i always forget how it
03:02:31.359 starts
03:02:35.940 [Music]
03:02:55.600 like half diminished
03:03:01.260 [Music]
03:03:09.520 one of my favorite melodies ever though
03:03:11.040 that's for sure
03:03:12.479 oh you said that's your fave too yeah
03:03:14.240 have you ever seen young frankenstein no
03:03:16.640 so gene wilder did he compose it or not
03:03:22.000 do you like the chromatic are you
03:03:22.960 talking about the chromatic run here
03:03:32.880 are you talking about the chromatic run
03:03:34.000 here
03:03:36.160 or how's it go yeah
03:03:41.100 [Music]
03:03:54.319 isn't that cool yeah yeah black screen
03:03:56.240 is because my camera overheated let me
03:03:58.160 look at the chart ooh good idea well you
03:04:00.720 see
03:04:02.319 i might
03:04:03.920 you're like let me look at the chart uh
03:04:06.160 my my friend here i myself
03:04:09.359 would like to look at the chart let me
03:04:10.720 show you the chart i'm looking at and
03:04:12.160 why i'm not playing it very well
03:04:17.279 what do you guys think about this chart
03:04:18.880 yeah baby i've got my real book
03:04:20.720 somewhere so i could go grab it but i
03:04:22.640 think it's in the pink the peach real
03:04:24.160 book this is what i'm trying to read it
03:04:25.439 off right now
03:04:46.399 that's
03:04:49.680 a nice like triplet run
03:04:53.840 so yeah that's what i'm reading off
03:04:55.279 right now my eyes can't see past the
03:04:57.600 giant preview only text
03:05:00.479 do you guys is this count
03:05:02.560 does this count as a preview what do you
03:05:04.319 guys think if if i can read the chart
03:05:06.880 okay i see the a flat set the a flat
03:05:09.279 seven
03:05:10.090 [Music]
03:05:12.240 and then it goes to what is this it's c7
03:05:14.399 right
03:05:20.240 right and then we go
03:05:26.160 and then we've got this which i don't
03:05:27.200 need the chart for this
03:05:35.120 oh yeah now is this sea said that's not
03:05:37.200 gonna be c minor right where it goes
03:05:40.479 no
03:05:42.070 [Music]
03:05:45.760 it's just c7
03:05:47.359 oh it's oh yeah right it's dominance
03:05:48.800 dominant
03:05:51.760 yeah okay that's true
03:05:53.359 is it really just a watermark if it's
03:05:55.200 opaque um
03:05:57.120 this is this is the how i get my charts
03:05:59.439 you know i just type google
03:06:01.600 chart and then i go looking around until
03:06:04.479 until we find beautiful charts like this
03:06:06.800 one here uh which is which is a bit of a
03:06:09.840 tease i must say
03:06:11.680 does this count if i play the whole
03:06:13.200 thing from this
03:06:14.960 any musician reading off the preview
03:06:17.120 from previous success
03:06:19.439 from previews i i mean i've got the real
03:06:21.520 book i owned this
03:06:25.040 i i own this i mean i've got the chart
03:06:27.359 somewhere i've even gotten it written
03:06:28.479 down in my little composition book
03:06:30.399 but alas
03:06:32.560 but alas we don't does that actually
03:06:34.720 count as dmca if i read off
03:06:41.680 i a i could play microtunnel
03:06:43.760 well i guess you guys can't see me so i
03:06:45.040 can turn on the lumitone and play
03:06:46.080 microtuna sure
03:06:49.120 all right we're gonna shift into the
03:06:50.240 lumatone i'm turning on right now
03:06:54.130 [Music]
03:07:27.680 okay now i've got lumatone turned on
03:07:29.359 it's time to go over to the lumatone
03:07:31.840 and i shall play in
03:07:33.600 let's see i'll play in 31
03:07:35.760 edo first i'll give you guys some some
03:07:39.680 some linear
03:07:41.359 linear things
03:07:43.120 there we go
03:07:45.040 uh string retention
03:07:51.439 it's so laggy though
03:07:55.600 okay i don't have a sustain pedal
03:07:57.120 plugged in that's kind of a problem hold
03:07:59.040 on let me lower this to 280 hertz
03:08:04.840 there that'll be fine then let me take
03:08:07.520 the sustain pedal out from my i need to
03:08:09.439 buy another sustain pedal let me take
03:08:11.279 the sustain pedal out from my nord stage
03:08:13.359 3.
03:08:15.279 then bring it over here
03:08:30.319 all right i think we're good now
03:08:32.080 oh and i gotta move the sustain pedal
03:08:45.279 hold on that's too loud the velocity
03:08:47.760 curve is a bit different
03:08:50.240 okay i think we're good now
03:08:56.930 [Music]
03:09:02.399 let me know if that's loud enough or not
03:09:07.960 [Music]
03:09:19.040 so
03:09:20.540 [Music]
03:10:36.800 i need to adjust my velocity curve
03:10:39.600 god you just hate that why does everyone
03:10:42.399 compare me to jacob collier quit
03:10:44.080 comparing me to jacob collier i'm my own
03:10:45.840 musician i've been doing music since
03:10:48.160 longer oh my gosh
03:10:49.680 i've been making music before i knew he
03:10:52.160 existed
03:10:53.200 ah it's gonna drive me crazy one day
03:10:54.960 it's flattering but i can't handle it
03:10:57.200 any longer i am my own artist i i'm not
03:10:59.840 david coyer i am my own artist
03:11:02.960 okay sorry sorry about that i apologize
03:11:04.560 thank you that's a great compliment i
03:11:05.680 appreciate it he's a great artist
03:11:12.310 [Music]
03:11:48.880 like i go
03:11:54.800 [Music]
03:11:59.040 check this out
03:12:09.439 where's it at
03:12:29.200 where's it out
03:12:42.340 [Music]
03:12:55.200 do
03:12:56.810 [Music]
03:13:13.920 [Applause]
03:13:14.740 [Music]
03:13:20.000 do
03:13:21.570 [Music]
03:13:47.359 so
03:14:14.160 [Music]
03:14:20.830 [Applause]
03:14:21.410 [Music]
03:14:22.480 [Applause]
03:14:23.220 [Music]
03:14:57.520 so
03:14:59.070 [Music]
03:15:44.740 [Applause]
03:15:51.920 so
03:15:54.310 [Music]
03:16:34.319 do
03:16:35.750 [Music]
03:16:49.359 so
03:16:51.420 [Music]
03:17:31.920 do
03:17:45.200 so
03:17:55.900 [Music]
03:18:13.680 well that's fun
03:18:16.319 isn't that enjoyable gosh we sure do
03:18:19.120 love
03:18:20.080 that a little bit don't we
03:18:24.479 please no i'm losing my sense of pitch
03:18:26.640 have mercy
03:18:28.479 indeed your sense of pitch
03:18:30.399 shall be deleted by this magical stream
03:18:33.359 here
03:18:34.800 okay i'm gonna go switch batteries then
03:18:36.640 i'm gonna turn my camera on and then i'm
03:18:38.000 gonna say goodbye because i've been here
03:18:39.760 way too long be right back
03:18:56.720 yes exactly that was 1280 i don't know
03:18:59.040 why
03:19:01.120 i don't know why your sense of pitch
03:19:02.479 would be off about that those are just
03:19:04.640 the normal notes we always have
03:19:07.840 okay camera turn on now i said now turn
03:19:10.319 on clap oh it turned on right when i
03:19:12.000 clapped
03:19:12.960 okay
03:19:14.560 oh no it turned out a lot sooner it just
03:19:16.080 got laggy because i was looking at the
03:19:17.279 old
03:19:19.040 hmm okay hello everybody gosh
03:19:21.600 whoo i'm quite hot let's see
03:19:24.479 let's see i wonder if i could show you
03:19:25.760 the loom tone maybe
03:19:28.080 my room's messy no judging my
03:19:30.840 room i guess it's not messy i guess like
03:19:33.520 the cleanest part of the room actually
03:19:34.880 to be honest with you
03:19:36.720 there we go
03:19:40.020 [Music]
03:19:42.399 yeah there we go wasn't that fun
03:19:44.399 everyone
03:19:47.200 mm-hmm
03:19:48.479 that was definitely 12 video no i do not
03:19:50.800 have a perfect pitch i have very
03:19:53.200 imperfect pitch but i've got very strong
03:19:55.680 relative hearing
03:19:57.040 and that's all that really matters in
03:19:58.720 music i think most of the time you know
03:20:01.279 so
03:20:03.200 yep yep yep oh korg yeah yeah for sure
03:20:05.920 i've got the um
03:20:07.600 i've got the prologue over there i like
03:20:09.200 the prologue better i just got my hpi
03:20:11.279 box so i can start micro tuning those
03:20:12.960 synthesizers um but i haven't used it
03:20:15.760 yet because i have to get midi cables
03:20:17.200 and because i'm such an in the box
03:20:19.600 zoomer composer i don't have many cables
03:20:23.439 so
03:20:24.560 i've tuned in twice now asking if
03:20:26.160 something's for every i don't for
03:20:27.600 a now i guess i'll play a little
03:20:29.520 bit of
03:20:31.520 i guess i'll play a little bit of 34
03:20:33.760 before i
03:20:34.880 go
03:20:35.920 yeah the h5 box is cool i mean you might
03:20:38.479 as well order one because
03:20:42.000 i really wanted one and they were out so
03:20:44.800 now they aren't out so i bought one
03:20:49.920 let's see
03:20:51.200 is that better yeah okay
03:20:54.840 hmm okay let's see y'all can you all
03:20:57.120 hear me and everything
03:20:59.439 we're good yeah we're good lumatone
03:21:01.600 focus
03:21:02.880 camera focus here not on the microphone
03:21:04.640 let me move my microphone it's in the
03:21:05.680 way
03:21:07.680 hello i've got some fruit gummy snacks
03:21:09.680 too i'm gonna eat in a moment
03:21:11.359 34 are we here we good yeah excellent
03:21:14.560 we're good
03:21:18.020 [Music]
03:21:32.360 [Applause]
03:21:35.210 [Music]
03:21:53.920 oh it overheated again okay okay okay
03:21:56.399 okay okay okay my camera is too hot my
03:21:58.800 room is hot i need to turn my ac on but
03:22:00.640 if i turn my ac on there's a bunch of
03:22:02.640 noise
03:22:03.840 so it's been real
03:22:05.840 it's been real fun i hope you've all
03:22:07.760 enjoyed
03:22:08.800 listening to me make music and uh enjoy
03:22:12.080 my music and thanks for being here
03:22:14.800 it is now time we pull the plug on the
03:22:16.399 stream and then i have to write in the
03:22:18.000 description watch the first 30 minutes
03:22:19.920 because that's really what the whole
03:22:20.800 point of this stream was
03:22:22.640 exposing a theory of prime modality
03:22:25.200 so
03:22:27.680 i'm gonna go drink some water turn my ac
03:22:29.920 on
03:22:30.720 eat some fruit gummy snacks and some
03:22:32.479 other stuff so it was nice chatting with
03:22:34.560 everyone have a
03:22:36.239 wonderful rest of your evening
03:22:39.520 crazy how many ways you can make 12 you
03:22:41.600 thank you wod well you know
03:22:43.920 when you've got the jacob call you're in
03:22:45.600 and
03:22:48.399 okay gosh gosh gosh all right goodbye
03:22:51.040 everyone cheers cheers cheers