19edo, huh?

weird thing that pisses me off is when people insist on using a harmonic seven on a minor seventh chord, particularly if youre using 7-limit JI

like for dominant chords i get it; but personally i think a MINOR seventh (aka 2 stacked P4s or [4:3]^2 or a 16:9] is better (take it as an 8:9 but with the fundamental on top if easier)). it works better, i think its also nicer

you could also tune a fifth about the minor 3rd if you want the similar beating colour to a 5JI Maj7 chord, min3 being 6:5, and minor seven being 9:5 instead of 16:9

for cent sizes

4:7 = -31c from 12EDO ; 969c [harmonic seventh]

16:9 = -4c from 12EDO < 3^2 in denom, 3 = +2c, denom inverts sign > ; 996c [two 4ths stacked]

9:5 = -10c from 12EDO <3^2 in num, 5 in denom, aka a monzo i think of < 0 2 -1 ], its been a while since ive used monzos> ; 990c [fifth above m3]

and as a bonus

4:5 = -14c, 386c !! major 3rd

5:6 =

pos monzo val in cent: [from their closest 12TET interval]

2 = ZÉRO!! (octave)

3 = TWO CENTS (fifth)

5 = négative fourteen… (Maj three)

7 = -31c yo, 31 mentioned yo (flat 7 [choosing not to say dominant or minor on purpose])

11 = -49 as an A4, but +51 as a P4 [can go to either préférence i dont care, but also first one that quarter tones are GOOD for approximating, (quartertwon 4:7 approximists are EVIL)

beyond here you may wanna check rounding for previous

13 = +40 (min 6)

17 = +4 (semitone,,)

19 = -2c (otonal minor3rd according to xen wiki)

23 = +28c (WIDE TRITONE)

29 = +29c (larger min3rd)

31 = +45c (quartertone mentioned, wide MAj7, very wobbly)

Listen/purchase: A Lady by Christian Carey - composer

Handel’s Passacaglia on Microtonal Guitar - Arr. David Russell

y’know what? fuck you *modulates you to the key of g half sharp*

guys help my tinnitus is a quarter tone flat

it’s a fucking vAb8, at least i think it is

im dogshit at octave reduction form mental audio

do you like weird music? you should check out this ep i put out. 5 tracks of 31edo silliness

check out the full ep!

hehe, playing around with microtones

Hercules and love affair Blind(Lyrics)

Wyschnegradsky - Twenty-four Preludes in Quarter-tones; No. 3

Listen/purchase: A Lady by Christian Carey - composer

Listen/purchase: Gilgamesh Suite by Locrian Chamber Players

speedrunning a migraine by listening to microtonal music

Hot take but the blues scale is stupid

Not blues as a whole, I actually really like the harmonic ambiguity and polyrhythms in blues music. I just think it’s stupid that we’re reduced blues to a specific set of notes (minor pentatonic with an added tritone), when the actual aesthetic of blues is basically complete harmonic freedom.

You can play any notes over a 12 bar blues. Any of the 12 notes of western harmony, and basically any microtones as well. The fact that so many white musicians have grown up learning this one particular scale that they can use to solo over blues songs is completely missing the point.

My greatest inner turmoil is being strongly opposed to treating 12 tone western music as the default but also not having the tools to break from it. All my keyboards and guitars have 12 notes, all the musicians I play with and talk to use 12 notes. I own an oud and experiment with xenharmonic stuff a lot, but that also tends to scare other people off. So I treat it more as a fun experiment than as the basis for my music making.

minecraft note blocks use microtones which makes the sounds they produce frustratingly ugly any truers

Why are people so obsessed with pure thirds

maybe it’s just my 12-tet brain being dumb but I really think pure thirds sound lame. The out of tune thirds in equal temperament are complex and emotional, whereas pure major and minor thirds just sound like random intervals to me. They don’t have any meaning.

Of course I think there’s a place for pure thirds, they sound good in some contexts. But there’s a reason music theorists have historically been okay with letting the thirds be impure.

this is so badass

Listen/purchase: A Lady by Christian Carey - composer