REQUIEM - 2020 | polychromatic 72

[@AustralopithecineXen]

I love the long sustained chords. It really gives one time to appreciate all of the less familiar harmonic elements.

[@modalmixture]

Ooh, this new choral patch really suits your music.

[@joshuahelmeke]

MAN! I can't believe all those notes are coming through without creating any dissonance. What a fascinating scale... Some of those oscillations were really intense, in a good way.

[@JohnZazoMusic]

Music hardly ever brings me to tears. This is the exception.

[@aswilll]

you and oneotrixpointnever could really make some amazing stuff.

[@JT-rg7kl]

Goddam gorgeous.... Unspeakably beautiful! I hate myself for living this long without ever having heard anything like this, or checking out this channel before now.....

[@L00PdeL00P]

I love the mix and contrast of the acid beginning and the warm resolution. Awesome work!

[@BenVanWinkleCello]

Your music is so emotionally intense, I can't get enough

[@onegreenghost3351]

That was very nice to listen to.

[@кышмыш-щ4й]

Thank you for creating that emotions through music, it's undiscribable experience! Also interesting, that your record is 4:33 long; look like some unexpected critical homage)

[@benyamind]

Beautiful harmony!

[@pbartmess]

Deeply moving. Thank you.

[@dduva014]

so inspiring!! thank you🤍

[@2an_sound]

ohhh it's so good

[@PoopVintner]

The opening sounds like the enjoined moaning of all the souls that are burning in hell, ringing out together in cacophony. I like it

[@richardwhalley8315]

Thank you, Dolores, I really enjoyed that. It's difficult to talk objectively about the relationship between emotion and harmony, but it feels that in this short piece, despite the tension and intensity there's also hope. Wishing you all the best for 2021!

[@KimStennabbCaesar]

Absolutely amazing.

[@Vintagestep]

It always feels so dreamy, but this one I think you replaced the usual brassy synth sound for a more vocal one. Also, the way you started with such bright chords, then I feel more tension until you get to the end with a surprising release. It's been a difficult year, I hope 2021 treat us all better.

[@csquared4538]

The synth sounds she uses are the one thing I can't get passed. I'd like to hear what her music would sound like in a more traditional string sounding form factor. Granted im basing that off of nothing, maybe it would sound awful.

[@Vintagestep]

@@csquared4538 I understand, and yeah we don't really know. instruments have a lot of harmonics in a compound that gives them their identity, this might interfere at the level of microtonality she's working with, but I'm not sure about this. If this is true then is understandable that she chooses simpler waveforms that to some people don't sound very good... I don't know if she has explained this in one of her talks, I can't recall...

[@starrybenchstudios]

I absolutely love your work!

[@astrocat2008]

Beautiful ! 🙂 ✨🙌 (and great new sound patch) Love this ! 😊

[@christianstathopoulos715]

My absolute favorite musical texture you play is that "train horn" chord at 3:38. I've heard it another one of your songs and it sounds incredible.

[@DenisGuerdon]

I think Gershwin used that same "soundfullness" chord in its Rhapsody in blue. Love it 💕

[@camtaylormusic]

That's the sound of the harmonic series up through to 11, with 11/8 on top, that "semi-augmented fourth", pretty much exactly halfway between a perfect and augmented fourth. Harmonics 4:5:6:7:9:11 work pretty well, as in, in usual jazz chord tone notation plus some microtonal inflections, 1-\3-5-\b7-9-+11, though it looks and sounds like she's playing 2:3:9:11 here, i.e. 1-5-(next octave)-9-+11 (without the 7th harmonic, and more space in the middle).

[@camtaylormusic]

Oh wait she totally adds in the missing notes afterwards, so 2:3:9:11 becomes 2:3:4:5:7:9:11, as she adds in the \3-5-\b7.

[@camtaylormusic]

Oops trying to type too fast * 2:3:5:6:7:9:11? Although it looks and sounds like she adds a little "rub" on the 9, using two different intonations close-ish together

[@macronencer]

I came here to say exactly that. That was my favourite part in the piece. I'm a total newcomer to microtonality and don't understand the theory very well at this point, but I knew that moment was special.

[@Ikoseveta]

Finally found your channel again. I saw your tonal plexus video 8 years ago and used to watch it quite regularly but had since lost it. Glad I stumbled upon your work again and you are still putting out content, please keep doing so.

[@HardClumping]

im so glad you exchanged your one synth patch you always use with a new one. it makes this track feel so much more unique

[@lezael4126]

So many changes

[@flowoodpiano717]

A haunting memorial to a terrible year.

[@DJMoniker]

reminds me of Ernst Reijseger cave of forgotten dreams a little, very awesome

[@ikey5941]

I love your expertise so much

Love it

[@ingorichter649]

Suitable tribute to the victims of Covid 19. Well done.

[@meinerHeld]

thank you. [and i appreciate the other patches/sounds you used just as much as this one]

[@salmaca191262]

Dolores, you’re a genius

[@54CFL]

Amazing as always.

[@markfdesimone]

So, in this piece, I hear lots of undulations in the timbre. For example at 3:46. Those are beats from the chord voicings, right? Not an aspect of the synthesizer patch?

[@cyndaquileoq6670]

Kora ga... requiem... DA!

[@philippequesnel]

great great great, really love "them chords" ! ;-) Are you using a tuning with purer 3thds / 5ths in this one ?? (e.g. 53-EDO vs 55-EDO), sounds like we are getting a nice treat of "just intonation chords" .. unless it's te synth sound (which I really like too) thank you and have a great 2021

[@dolomuse]

This keyboard is tuned in 72 EDO, and transposed down a fifth. I'm trying to get better at 'blending' the movements/turbulences of micro-intervals with the relatively smooth, placid qualities of purely tuned intervals in the chord constructions. I think the analogy of pitch-color - the mixing/balancing of audible 'colors' and textures, opens wide new vistas for exploring, creating and listening to music.

[@Mattieval]

It would be interesting to hear a composition using this instrument in more of a tradiational setup of bassline, chords, melody, drums etc. But this piece is great.

[@ManlyHanley]

Amazing as usual! Just wondering if you'd ever consider discussing how you go about writing such pieces? Not necessarily in terms of the pitch color that you described in the past but just the chord choices in general. I realize this would greatly diminish the aural effect of these polychromatic pieces, but I would just love to know the chord changes so we could try and implement them in our own writing! Take care!

[@dolomuse]

Since my composing process is very intuitive, it's hard to describe theoretically. I practice ear training (micro-interval discrimination) and technique on each controller to get a baseline of fluency. My harmonic background is more jazz oriented. The process involves alot of listening to micro-interval tensions/movements to try to balance them in a way that's similar to how we might balance a melody or chord progression. My compositions tend to be slow because it takes a while for the qualities of each micro-interval to interact and create motion, turbulence, resonance, within a chord.

[@ManlyHanley]

​@@dolomuse That is so fascinating, I imagine it would take a different thought process that is more specific and focused on the those micro-intervals than just thinking "Oh I'll do C#add9 to A#m7 and move my fingers in different spots!" It's a language as I believe you've said before! Thank you for getting back with me, much appreciated!

[@junglsmor]

do you have a favorite interface/controller for microtonal?

[@khbgkh]

Look at the rest of Dolores' videos. There are some nice ones explaining the techniques!

[@dolomuse]

Each instrument has unique strengths and limitations of musical expression. The Continuum is incredibly expressive of melody but playing chords with the correct intonations is very difficult. The Microzone has a pitch resolution of up to 72 notes per octave, but its keys have very little movement. The Lumatone has a pitch resolution of up to 56 notes per octave, its keys have a lever-action and are much more engaging to play, the color implementation is revolutionary in terms of evolving away from our conventional chromatic keyboard layout (circa 1361).

[@lukex1337]

This is what the aliens are gonna play when they arrive - right before they destroy our planet :D.

[@realysteel]

Thank you for that. The final resolution is so warm. I wonder, how do you notate your music ?

[@dolomuse]

I use polychromatic pitch-color notation. Here's a link to the score of this composition: polychromaticmusic.com/wp-content/uploads/2021/01/Requiem-2020-score.pdf The pitch-colors represent degrees of flatness/sharpness of each chromatic note. While the flat/sharp series of pitch-colors is consistent (r,o,y,g,b,i,v), the actual pitch assignments (in Hz, cents, ratios, etc.) are relative to whichever micro-pitch scale the musician chooses. Because keyboard controllers like the Tonal Plexus, Microzone and Lumatone are capable of very high pitch-resolutions (i.e. 106, 72, 56 notes per octave), I use EDO (equal divisions of the octave) as a basis for my use of the polychromatic system across all instruments.

[@realysteel]

@@dolomuse Thank you.. I didn't realise that you published them all under CC BY-SA.. I shall enjoy following them and even perhaps trying to play a little in some way.

[@neatproductions]

NEW DOLO LETA GO

[@bobyaccount]

this is me every new upload

[@jedupjohn964]

Beautiful. Moments of it really remind me of “Home Is” by Jacob Collier

[@philippequesnel]

hehe indeed, I was thinking along the same lines "some Jacobian sounding chords in there!"

[@jimmykicksace]

What is this instrument called??

[@fesd2010]

korega requiem da

[@dareen93mt98]

On another note, this choir is not bad at all. Which patch are you using there ?

[@dolomuse]

I'm using an Omnisphere synth choir. I tried to find more realistic vocal sample libraries but so far, they're unable to accurately implement micro-pitch tuning layouts for controllers with hundreds of keys. I hope MIDI 2.0 will resolve this limitation for us in the next few years.

[@jmgpb104]

This is what Jacob Collier would sound like if he were an instrument.