'recurrence' | polychromatic 72

[@karleick6679]

3:39 love this chord!

[@Grovfu]

Dolores, my day brightens up whenever you upload. Thank you for bringing your music into this world.

[@TheDarKAnjl]

oh my lord the way these tones just resonate together sends chills down my spine

[@khbgkh]

When I heard this music for the first time i heard a truly expressive pallette unsurpassed by anyone using normal chromaticism. I can not for the life of me understand why some of these people would try to explain to you how to change your creative vision in such a presumptuous manner.

[@BrandonLewisD]

72 EDO is a favorite of mines, and is put to use beautifully here. Great work!

[@MicheleZuccarelliGennasi]

Dolores: this was really musical. At first sight when i saw "polychromatic" i've imagined something weird and hard to listen.... but that wasn't true! This is very musical. Congratulations! :)

[@ophis2809]

Wow. Just sitting and listening to everything going on in your music is a great experience. Thanks for making it!

[@rasmus9442]

So incredibly beautiful... Thank you Dolores!

[@anthonymccarthy4164]

Of all the people I've heard using these instruments, you're the only one I've found who produces music of much interest.

[@ejpichay9206]

Can someone explain why i feel sad, happy, nostalgaic all at the same time? Why does this invoke such feelings? Seems like a music you hear when you we're born or after you die.

[@6713000]

It's similar with me, only that I usually feel more light, joyful and heart centered when I listen to her music. It's beautifully intriguing... somehow these unusual frequencies seem to trigger emotional states in the body which are not or not as easily accessible with normal 440hz music. It feels much deeper

[@maxxkarma]

It is simply because of the sound and the chords. Not your standard pop chords. It reminds me of the works of Steve Roach.

[@andyphil666]

i always enjoy your uploads so much

[@Muzacification]

I always really enjoy singing the various harmonic pathways to these types of chord structures. I love tuning into the nuances of each harmonic shift and allowing my voice to resonate with the distinct dissonances and consonances amidst each chordal shift. This music has such a distinct and resonant quality to it.. I feel as though beings in higher inter-dimensional realms of existence play music in a similar fashion. I almost seem to remember these types of harmonies like they are a part of where I feel like I came from. I've always dreamed of being able to play a Tonal Plexus at some point in my life and create very similar harmonic palettes on my digital piano at home. I would love in thousands of people sang in harmonious union to this type of music with very resonant cosmic consciousness imagery unifying the collective vibration to help direct the harmonic and melodic movement of the entire experience of the music. I would love to play this type of music with you sometime.. I have created very distinct harmonization circles with my Ethereal (banjo) and voice and feel like our respective bodies of knowledge and understanding would compliment each other quite well.

[@DNotzz]

I love your approach to music. Thank you for the content 👍🏻 i'd love to hear more original music, and even covers!

[@PeaceNinja007]

yey ..i've always wanted to play a beehive :)

[@Kzard47]

Beautiful music Dolores!

[@TheDarKAnjl]

beautiful

[@nostalgiacat2518]

Absolutely stunning

[@dandelionhandsband]

dolores you're one of the best i love your videos :~)

[@MarcoThaDon]

Wow this is gorgeous very fresh

[@The_SOB_II]

You did it! It was good!

[@stephenallen1149]

Unusual.

[@GloPhase]

awesome!

[@NarcissistMargarine]

I FUCKING LOVE YOUR COMPOSITIONS HOLY SHIIIIIIIIIT.

[@fakt7814]

It's great! With love from Russia!

[@yeshuamusichope2973]

In some ways reminds me a bit of Tangerine Dream in their "Phaedra" kind of mode. Beauty!

[@AcoAegis]

I like the buttons on this synth better than the other one you used. Very good job, I can't imagine playing 6 times the tone as a normal piano. Do you have perfect pitch?

[@dolomuse]

In my high school music education I played transposing instruments, so I never had a sense of ‘absolute’ pitch - pitch was always ‘relative’ for each instrument (Bb clarinet, Eb sax, C flute) in terms of music notation and hearing. More broadly, even the concept of ‘absolute pitch’ is relative to a fixed-pitch, equally tempered, 12 note chromatic language, with a global reference pitch of A=440Hz. I wonder about developing a sense of generalized recognition of polychromatic pitch-color in terms of redness or yellowness etc. So that regardless of the polychromatic pitch language (12, 31, 53, 72 etc), a sense of pitch-color reference could be appreciated. Just like we experience with seeing ‘redness’ in various visual color schemes.

[@RedBlueProductions1]

+dolomuse well, in choir, you learn that voices can sound brighter or darker, so I wouldn't imagine that you couldn't hear redness and yellowness. what would you call it if it went in the direction of a certain color on paper, though? also, jokingly, how does pink noise relate? :p

[@RedBlueProductions1]

+RBFlesky actually, what I meant was how it would look on that keyboard to play a bluer note, and a redder note, etc. I'd love to know the technicalities of color theory in music, actually

[@dolomuse]

Brighter and darker in this context refer to tone-color (timbre), where a brighter sound has more prominent upper harmonics and darker more prominent lower harmonics. Redness or yellowness refers to polychromatic pitch-color. So, if you were singing in a pitch system with 36 notes per octave, each chromatic note could be assigned to red, green or blue. In this context, notes in between these color values could be described as greenish-blue or bluish-green. ‘Pink’ noise is a scientific description of a sound with equal energy in all octaves, while ‘white’ noise describes a sound with equal energy for each frequency. In terms of timbre, ‘pink’ noise has more prominent low frequency components than ‘white’ noise, and sounds ‘darker’. Check out this sound demonstration: kzbin.info/www/bejne/lWfEoayhaZJ1oNk

[@dolomuse]

I envision two aspects of color implementation on polychromatic keyboards. One is led pitch-color (hue) which is user-assignable to any keyswitch. Secondly, having the intensity (saturation) the the assigned color change with pressure would give excellent haptic (integrated tactile/visual) feedback to the musician. The more senses (touch, vision, hearing, proprioception, etc.) that we can engage in an instrument design, the greater its musical potential!

[@YTisit]

Cool! Dolores I'd love to hear this instrument with string section sampled into the sound palette instead.

[@dolomuse]

The difficulty with a string section sound is the natural detuning (imperfections of pitch within the group) of the sample. In a musical system with very high pitch-resolution, this detuning results in an auditory ‘blurring’ of the unique qualities of micro-pitch and harmonic interactions. Electronic orchestration, synthesis and sound design are an immense world of their own and my focus is more on the exploring the musical potential of polychromatic system in composition. I hope to find collaborators with a passion for sound synthesis and design.

[@herrschnupke4044]

She should make film music. Great!

[@KardPierce]

The Forefront! What people with 'perfect pitch" make of it?

[@caiocosta8562]

JUST LOVE IT :D

[@bobyaccount]

keep it up deloes

[@lucaslemonholm5492]

What instrument is this? I know the Tonal Plexus is no longer being made, but if this is, I may consider saving up for one. Love all of your compositions.

[@_guyfieri]

it's a Microzone u648, it's in the title lol

[@theofarnum8706]

And it's nearly $3500

[@romanmamus5830]

It's a Starr Labs MicroZoneU648

[@wonpound5326]

wow

[@ripplesr5655]

such reincarnation of life Dolores.Can we find your music anywhere??albums or singles??would love to spend hellotta time with your creations!Lots of Love from Bangladesh!

[@brandon-butler]

At 1:30 it starts to sound like music with a rhythm :)

[@jazzywillo10]

Harmonic oscillation, my favorite attribute that just intonation lends itself to

[@schmuelschperling1459]

This is amazing. Can I get the score somehow?

[@zoomthruths7976]

Its great but that sound get old very quick...why only one sound ?

[@link1day]

Where do you obtain this type of instrument?

[@schmuelschperling1459]

Did you base some of your harmonic theory on Haba's work?

[@bassealmind]

How are you deriving the intervals? something like 7, 11 or 13-limit? Also, are the smallest intervals you use comma's of a sort? syntonic or even smaller? I'm VERY interested in music based on ratio's, since it is much more tangible and relatable, than the 12-tone ET. (not to mention philosophycally stimulating)! I wrote my bachelor's assignment on this subject, while studying at a rhythmic-conservatory in Denmark, and have been consumed by it since. I have been playing the electric-bass from age 10, until now at age 23, and always wondered why the damn harmonics didnt fit in half the chords/modes i was playing in :) love the compositions BTW.

[@dolomuse]

That sounds like a fascinating area to explore Basse! Currently, I use equal divisions of the octave (edo) at the maximum level of each keyboard design (subject to ergonomic considerations). I look at this system as trying to pursue the closest approximation to the pitch continuum possible within each keyboard layout. My approach is grounded in exploring the outer limits of auditory perception rather than applying mathematical derivatives. Pitch perception is a nonlinear process which seems fundamentally different from linear mathematical approaches to pitch and intervallic systems. Although, at triple digit pitch-resolutions (i.e. 106 edo and beyond), I imagine that we get a close approximation of all possible systems as subsets. Also, at this level of pitch-resolution, intervallic values become 'relatively' defined, subject to context (polyphonic-harmony, harmonic-overtones, amplitude and fundamental frequency). For me, the polychromatic pitch-color system seems to be able to express this relativity of intervallic combinations, in notation, more intuitively and flexibly.

[@XSimonEntertainmentX]

Is it possible to read your paper somewhere?

[@bassealmind]

Unfortunately not, and it's also in danish :) But i'm working on a more comprehensive version, possibly in english. However there is a lot of material on the subject. Seach for: harmonic series, musical ratios, various tunings - such as Pythagorean or Just intonation.

[@XSimonEntertainmentX]

I'm a Swede so I would probably be able to read it. Shame it's not available. I'll be sure to read up on the things you mentioned. Thank you.

[@aaronmoralesesparza691]

interesante....

[@777PLove]

Love it how bout some modulation on top in stead of the same tone really love it just have listened two 4 in a row Moog filter and Delay would be cool What I know Im just a guitar bass player Just wow you kill it

[@carlosroberto366]

Few will understand this but this keyboard reminds of "Master of monsters" for Sega Genesis, even the music could fit the game pretty well.

[@karleick6679]

O man, I whish i could play such music myself using free midi software.

[@CavemanJesus4Life]

Its Gwildor's Key that can transport us all to Eternia!!! He-Man, We Coming For You Nigga

[@sepsmusic]

I wanna hear Jacob Collier play around with one of these

[@atwaterpub]

One day, some intrepid performer, will develop a rocking keyboard style using one of these two dimensional keyboards and no one will have any idea WHAT he is doing, but nothing will ever sound the same ever again.

[@Cestariarts]

This sounds a lot like Disasterpiece composition of FEZ game

[@MikeHanleyherecords]

I envision nebula

[@bepowerification]

I don't want to sound cruel or offensive.. but why are all your polychromatic compositions just sounds/accords without any melody? I mean.. is it SO hard to make a melody more like a real song, with rhythm and stuff with polychromatic synthesizers? all I ever hear are just sounds... not music. I could write a computer program to do that.

[@dolomuse]

I have found that, initially, polychromatic micro-pitches are best differentiated in context (harmony). Also, the complex interactions of pitches, harmonics and phase relationships seem to push the boundaries of what we currently understand about music and acoustics. I find these new sonic ‘shapes’ and ‘colors’ very compelling and this is the area I am exploring in this early phase. I do intend to focus on adding melodic elements soon. In the meantime, I think these compositions are best appreciated with a ear toward hearing pitch-color differences and new auditory spatial qualities.

[@bepowerification]

fair enough. I really don't want to critisize you because you're genius, just wanted to say it. maybe I am not that far ahead to understand your music, I hope one day I will be able to do it. I really look forward to more melodic track of yours.

[@neoseyes]

Show me you playing a composition you made on an ordinary piano.

[@fartwrangler]

Mixed feeling about this. I like the overall texture, in a sort of Brian Eno ambient-music sort of way -- or perhaps one of Pauline Oliveros's meditative accordion pieces. But I think a lot of what the microtonal system has to offer is obscured by the extremely rich timbres chosen; the dense harmonic wash distracts from the base pitch relationships. With simpler sounds, I think there is great potential here. Personally, though, I'd prefer to hear a piece with some less conventionally major/minor tonality. I'll never understand why so many microtonalists go to such great length not only tuning, but also philosophically justifying their chosen tuning system -- only to use them to produce sound washes of the same banal M7 and m7 harmonies we've had for centuries.

[@dolomuse]

I think that what you describe as banal harmony could also be appreciated as a way of creating challenging yet accessible music within a vastly more complex pitch system. It seems that pushing the boundaries on too many artistic elements at the same time creates more confusion than awareness. There are many new musical dimensions in which to focus expressively, and focusing on one certainly obscures the others. From a wide perspective (and many areas of interest), the exploration of new sonic phenomena and their implications for creating new perspectives in science, hearing and music is the intent of these musical explorations. You seem to have a strong interest in pitch relationships and melody. I hope you will consider creating the type of compositions that your ear is leading you toward. You are drawn toward a type of music that doesn’t yet exist, and the creative tools are becoming more widely accessible. The timing sounds perfect to me!

[@fartwrangler]

Any music is accessible to one who takes the trouble to access it. I don't favor gently leading people by the hand and hoping that maybe they'll stumble on something they've never tried before. Art is supposed to be challenging. As regards "pushing the boundaries on too many artistic elements at the same time" ... that's kind of what I meant when I said that the more interesting features of the microtonality were getting obscured by the overly rich synthesized tones. I have a strong interest in all aspects of music, not just pitch relationships and melody. I was just commenting on one particular application of your microtonal system. And really, microtonal systems are all about pitch relationships; otherwise, why bother calling attention the fact that they're microtonal? You'd just play the music, and let people make of it what they will. As far as being drawn to "a type of music that doesn't yet exist", I am greatly bemused that any obviously accomplished musician such as yourself would make such a comment. All manner of music exists having all manner of characteristics. Just to take one example that's been around for maybe a couple thousand years: Indonesian gamelan. There is music that is microtonal, completely devoid of common practice western notions of harmony (major/minor and otherwise), and ranging from purely melodic, through heterophonic, to purely rhythmic. I have no special quarrel with either common practice, nor banal chord progressions. Some people like them, and that's fine. But I've pretty much had my fill of them, and don't really think we need to add any more to the already vast repertoire of same, when we have -- as you say -- the creative tools with which to do truly new things. That's why I say I would have /preferred/ to hear something a little more adventurous. I can appreciate it for what it is, but it opens no new vistas for me, I'm afraid.

[@dolomuse]

I agree that Art is supposed to be challenging and also expressive. When too many musical elements are beyond a listener’s experience and understanding, the potential for expanding auditory perspective and awareness is lost for many. I am finding that the polychromatic system enables an intuitive exploration of far more than pitch relationships in the conventional sense. The interactions of harmonics and phase relationships are new and very compelling. These qualities are best brought out with complex cluster harmonies. And with respect to pitch relationships, new qualities such as intervallic relativity (to polyphonic and overtone context) are an area worthy of deep exploration, in contrast to chromatic and microtonal systems which still utilize absolute (static) intervallic relationships regardless of context. Regarding the ‘type of music that doesn’t yet exist’, this is referring to the yet to be composed musical ideas in your creative imagination. A large part of the joy in the compositional process is trying to express your unique musical ideas and intuitions to others. A belief that ‘all manner of music exists' is belied in the truly and radically creative Art that has been, and has yet to be, embodied throughout history.

[@fartwrangler]

If musical elements are kept hidden in the closet, and only stingily doled out at the composer's discretion, some of them will remain \forever\ "beyond [the] listener's experience". I agree that interaction of harmonics and phase relationships can be compelling. There's nothing particularly "new" about this, though -- organists have been experimenting with these things since at least Bach's day. What -is- new is the focusing of attention on these parameters, rather than regarding them as incidental parts of the musical picture. And I wouldn't say that intervallic relationships in microtonal systems (or even in chromatic systems) are necessarily "static". That's only true in the context of functional harmony, and I was in no way insisting on functional harmony. Furthermore, considering the infinite number of possible microtonal systems, and the vast number of them which have been explored by various musicians in all genres, I myself would be hesitant to make such a sweeping generalization about "microtonal systems". There is a LOT of territory between Charles Ives, Harry Partch, Ivor Darreg, and Pak Chokro, just to cite a few. As regards the "compositional process", I find joy in the process itself, as opposed to any "product" it may produce. I compose for my own edification. If others hear what I have done and get something out of it, good for them. But I don't insist on it.

[@dolomuse]

The absolute ‘static’ intervallic definitions used in chromatic and microtonal systems occur at the fundamental level of musical language. For example, generally an octave is statically defined as double or half the frequency of the reference note, this numerical relationship is linear while pitch perception is nonlinear, so over the course of 4+ octaves this interval can be heard as increasingly flat. A ‘relative’ (dynamic) pitch system would allow for the compensation of this intervallic discrepancy as heard and in context. Functional vs nonfunctional harmony are concepts related to the application of a pitch language and not the pitch language itself. Here is an interesting article on functional and nonfunctional harmony www.patriciajulien.com/non-functional-harmony-patricia-julien.pdf.

[@rumbepack]

honestly it sounds like she is hitting random keys