What's The Opposite Of A Scale?

[@12tone]

Some additional thoughts/corrections: 1) A little more detail on the prime forms thing: Technically, when I say that 13 of the 16 sets included their prime form, what I mean is that they included _a_ prime form. For invertible sets, you actually have two prime forms, one for the base set and one for the inversion. Traditionally, we use the term "prime form" to describe whichever of those two is flatter and "inverted prime form" or just "inverted form" for the other one. This is usually a pretty important distinction, but given that anti-scale equivalence is inversionally symmetrical, for the purposes of this particular examination it seemed reasonable to count them both as the same thing. After all, if you invert the inverted prime form, what you wind up with is effectively an anti-prime form, where all the notes are as sharp as possible, and that serves the same purpose of identifying the presence of extremes. I didn't really have the space to get into it in the video because it's not important to this specific topic, but if you want to dive into set theory in general, it's worth being aware of. 2) Around 4:02, I describe Phrygian as the 2nd mode of major. This is incorrect: It's the 3rd mode. The 2nd mode, as mentioned later in the video, is Dorian. Whoops!

[@PeterBarnes2]

Hey, I made an anti-scale calculator! docs.google.com/spreadsheets/d/1s7F9GtErRpAMQekfwhO_BLanFu9p0zkkxgVgijyeXTc/edit?usp=sharing Edit: I changed the link to a version you can copy.

[@banjopink4409]

@12tone (04:16) - _"There's 462 possible seven-note scales."_ I'd be fascinated to know how you calculated this, and, if not, then your source for this assertion. Thanks.

[@PeterBarnes2]

@Banjo Pink You can calculate it pretty easily using combinatorics. To start, we assume that the first note of the scale is 0 semitones away from the tonic. This seems obvious, but it now leaves us with 6 notes and 11 chromatic places to put them. There's a combinatoric function for exactly this: Combinations. 11c6 = 462, but how and why does it work, here? Pick a note to start with, and choose somewhere to put it. There are 11 options, and now 10 remaining spaces. When you pick another note, there are 10 options, but there were 11 options before. 11*10 = 110. As we keep going, we get 11 * 10 * 9 * 8 * 7 * 6, but that equals 332,640, which is way off, and is actually more than the number of possible scales in 12-TET. We've double-counted somewhere. Well, think back to just 3 notes. Say we'd picked 7, and then 4. That's great, but it's actually the same as if we'd picked 4, then 7. But here, we counted it twice. What's happening? Think of it as doing wierd things with enharmonic spellings. In this case, we could call the notes E and G, but then there was an alternative spelling: E### and Gbbb. Traditionally, these are ridiculous spellings, and more importantly, the notes are out of order, with the first G above E being below it instead. And, when we add more notes, we get more options. To correct this, all we need to do is divide by how many ways there are to order 6 notes (6 and not 7 because we already said the first note was 0 semitones from the tonic). Well, there are 6 possible second notes, then 5 possible 3rd notes, 4 4ths, 3 5ths, 2 6ths, and then only 1 left for the 7th. 6*5*4*3*2*1 = 720. So, what's 332,640 / 720?

[@HanBurritoz]

This seems alot like Polymodal chromaticism that Bartók for example used alot in his writing. Instead of only using the complement and the root, you use the complement, the root and the perfect fifth. For example, you can take the notes from G phrygian and G Lydian and get all 12 chromatic pitches, however, the b2 and b6 from the phrygian are tension notes which want to resolve to the 1 and 5, while the #4 and 7 from the Lydian mode want to resolve to the 5 and 1 aswell. Then you can use these tension notes from both modes together to strenghten the resolution.

[@ibji]

It's funny how I'm still hearing your voice as I'm reading this.

[@JbfMusicGuitar]

Not to be confused with 'Aunty Scale' which is, of course, the parent's sister scale.

[@michaelsmusic3532]

... or your sister's parent scale ?

[@reubennb2859]

I emailed 12tone about music theory so you could make this joke

[@mattdoesstuff8987]

12 Tone having deep thoughts about theory: What's the opposite of a scale? Me having deep thoughts about theory: hmm yes, this is a *chord*

[@lexscarlet]

me having any thought: how does one do BOLD in a youtube comment? or am i just blind

[@keepyourshoesathedoor]

@@lexscarlet Using asterisks between a word.

[@noahmcgaffey797]

@@keepyourshoesathedoor betw**een a word?

[@MisterHunterWolf]

@@noahmcgaffey797 ehhh.... close enough

[@noahmcgaffey797]

@@MisterHunterWolf ah, good to know its effe**ctive

[@dougnulton]

Anti-scale of the chromatic scale = 4’33”

[@markusmiekk-oja3717]

There's better options once you start looking at quartertone scales!

[@PeterBarnes2]

Technically speaking, [∅] is the complement of the chromatic scale, and [0] is the anti-scale of the chromatic scale. For excellent usage of the anti-scale to the chromatic scale, try this: kzbin.info/www/bejne/mYSkoWypd9-DmMU

[@dougnulton]

Peter LeRoy Barnes The example is dank, but for full-on pedantry, isn’t there no singular “root” in the “chromatic scale”, and thus the anti-scale of the “chromatic scale” is still nada/undefined? Or are there 12 single-note anti-scale possibilities 🤔

[@PeterBarnes2]

What you say is that all 12 modes of the chromatic scale happen to also be the chromatic scale, just like the whole tone scale, and similar to the diminished scales. This property is known as rotational symmetry. There's always a root, as long as you believe.

[@yeremiafrans9425]

Yes the Scalen't.

[@sorrychangedmyusername3594]

The nega-scale

[@mikaeels2691]

This channel is like numberphile for music. Good stuff

[@Anonarchist]

no, music _is_ math. and physics.

[@Actiomedey]

@@kendrakrust1244 Numberphile came first though, so if you wanna be accurate the original stands

[@lexscarlet]

yea and it has that doodling style like minutephysics and others.... who was that girl that did those kind of videos?! i forgot the name of her channel! she'd always start with like "so i was doodling in math class..."

[@アヤミ]

Adam Neely?

[@tyraelgoo]

alexandru benza Vi Hart

[@fvlegacy0128]

I know basically nothing about music (I'm a mechanical engineering major) but I still watch all of these videos for some reason

[@pannekook2000]

I'm in chemical engineering and understand barely half of what's going on in these videos but I can't stop watching them

[@mingnrich]

I am a mechanical engineer, I minored in music, I’ve seen tons of 12-tons videos, but this is the 1st one that’s lost me. Though that could just be because I’m hungry and distracted.

[@lexscarlet]

The genius himself, Tesla: "If you want to find the secrets of the universe, think in terms of energy, frequency and vibration." and HERE WE GO!

[@sc1ss0r1ng]

@@mingnrich - "Minored in music"... Oh, the puns.. But no, I'll contain myself.. Don't want to *flat* out make a *major* douche of myself..

[@wernervannuffel2608]

I like his original research approach who dives very deep and try to find constant patterns and maybe a hidden formula... Or when adhd and eufunctional autism and music theoretical insight views together with analogical drawings inbetween meets all together. Well done, 12tone! 👍✨🎈

[@PeterBarnes2]

I feel like the property of not having anti-scale equivalence is even more interesting, because you would be allowed to modulate a very substantial harmonic distance in a way that isn't totally 'smooth,' but is an operation with very few options, making it the ideal modulation: perfectly harsh but perfectly justified. For example, modes of 7-31 and 7-32 are not on your list, which includes fan favorites like Harmonic Minor, Harmonic Major, and Jeth's mode. For the scales not on your list, there are always 6 anti-scale partners. Taking Harmonic Minor (7-32), I found that it has the following anti-scale partners: 7-26A 7-31B (Mode of Hungarian Major) 7-22 (This scale has it's own anti-scale equivalent modes) 7-31A (Mode of Jeth's mode) 7-26B 7-z12 All of these scales have surprisingly interesting sounds. It's also interesting to note that only 4 pitch-class sets are represented, here.

[@hana1227]

I have no idea what you just said

[@eac9349]

​@@hana1227 the numbers 7-31,7-32 etc ..are just 'forte numbers' /'set class' of the scales

[@paulsherrill]

So I'd think about this in terms of set classes first. There's a result in set theory that tells us that complements have very similar interval-class vectors. (For example, diatonic and pentatonic scales both maximize perfect fifths. 0369 and the octatonic are both minor-third heavy.) This strongly restricts the shapes that a complement can have. In lots of cases, it means that a set should be contained in the inversion of its complement. This is actually true for every 5-note set (in 12edo) except one. (The set-class 01356 is the odd one out; Howard Hanson called it the "maverick" set for that reason.) In other words, every 7-note scale contains an inverted copy of its complement. Let X be your 7-note scale; we'll call its 5-note complement p, and we'll call "the inversion of p" d. For almost any X, d sits inside X. In fact, you can think of X as d plus two other notes. If you combine p with the right 2 notes, you therefore get an inversion of X. Since creating the anti-scale of X is just combining p with one extra note, you can see that 2 of the 7 possibilities will give you an anti-scale that's a subset of the INVERSION of X. (Try it out with a scale like 0123457.) That's why inversional symmetry is such a powerful factor in your search for anti-scale equivalent. In this case, since X is its own inversion, 2/7 of the anti-scales being a subset of the inversion of X => 2/7 are a subset of X itself. Sorry... that was more convoluted than I thought it would be. But the core idea is that all 7-note sets except 1 contain an INVERSION of their complement. So it we allowed anti-scale equivalence to include inverting the scale (like turning harmonic major to harmonic minor), some mode of every 7-note scale (except one) would have anti-scale equivalence. This is a cool topic! It reminds me of a talk I heard about Bartok once, where the presenter said that Bartok likes to use phrygian+lydian together basically for the effect of "collaborative chromatics".

[@TiagoLageira]

*1 minute in* Yeah sure I can follow this *4 minutes in* Hmm wait..? *8 minutes in* WTFFFFFFFFFFFFFF

[@joycesanders4898]

..right..🤯

[@peterkoster3438]

This video is sponsored by Scale-share

[@thebenevolentarchive4578]

I don't totally know what to think about the mathematical and musical implications of all this, but I'm totally about to take your idea and try to write something that modulates between F and Anti-F. It'll be interesting to see what I can wring out of that. I predict tension, melodrama, and discomfort, but let's see!

[@MarsLos10]

I'm very curious, please share your results! :)

[@dalemusic9316]

FN - 7-35 huh? Finn, I'm gonan call you Finn!

[@misterguts]

6:05 Mentions "palindrome", draws a cat in a taco... TacoCat!

[@passage2enBleu]

good catch

[@MisterHunterWolf]

TaCoCaT

[@maxkaledin3462]

As a mathematician, I greatly appreciate the language of this video :))

[@ragminka]

I watch all these videos like I know what you're on about but honestly I barely remember the difference between melodic, natural and harmonic minor sometimes

[@sambennett9769]

I understood some of that

[@lexscarlet]

yes personally i understood the english in the title.

[@Bigandrewm]

Fun math trivia: given some interval x/y, if you look at x/y and a "complement" interval 2y/x (for example, the 5/4 major third's complement is the 8/5 minor sixth) you get a limit as x,y->infinity for the average ((x/y)+(2y/x))/2 to approach the square root of 2, or 2^(6/12), or the 12ET tritone.

[@DojoOfCool]

This is why I like the term "Pitch Collection" instead of scale or variant. In hanging with some old Jazz cats I've discovered instead of say they are playing F major or D minor they will say we are in 1 flat. By saying 1 flat instead doesn't make you limit yourself to thinking major or minor when it could be one of the modes that has one flat. I liked how thinking in a key signature not a key letter name opens up sound options, it also forces you to use your ear more and hear how the key signature/pitch collection to hear how are those notes being used.

[@musikman43204]

I like it 👍

[@musikman43204]

" did you just assume my tonality? "

[@Frownlandia]

Wow, thanks for putting the document in the description! I tend more toward microtonal/just intonation theory obsessions, but this'll be quite the time-sink!

[@zigalkodonverven3862]

3:48 the anti-minor scale sounds a lot like the opening phrase of Cruella de Vil's song.

[@kinocomix]

been a somewhat regular viewer for a while. I never have a single clue what you're talking about, but somehow I find that very soothing.

[@TheSquareOnes]

Cool, I've worked with these before but didn't know it had an actual name. One neat thing you can do with them is play a riff, melody or whatever in one scale a couple times and then immediately switch to an anti-scale arrangement of it right after. Creates a pretty cool dissonant effect where you're hearing some very familiar (since you literally just heard this phrase with the notes almost kinda sorta in the same places) but it all melts into a chromatic stew where every note is somehow a bit wrong. Just a simple compositional trick you can throw in basically anywhere to spice things up, much easier than trying to build an entire piece around a meaningful use of an anti-scale.

[@juicebox86]

"dad" Nice name drop, Great analysis as always.

[@WizardOfArc]

A lot of my programs are just for answering music theory questions

[@ric-speed]

This reminds me of a song that the 1980's Denton(Texas)'s Atomic Ant Men did. It was called one up, one down, or two up (or maybe two down). The rule was - if you hear someone playing in a key, you play in a key that is one half-step up, one half-step down or one full step someother direction.

[@pnarey]

I played with this idea a bit. One thing to note is that a 7 note scale yields a 6 note scale. Alternatively, a 6 note scale yields a 7 not scale. I feel like anything scale that has a P4 and a P5 becomes pretty useless in its anti form so I took on the whole-tone scale. The complement to a whole-tone scale is the only other whole-tone scale, but the anti-whole-tone scale is a different flavor. The overall feel of the scale retains the dreaminess of whole-tone but also provides a P4 and P5 to get a little stability and suddenly every interval is possible. The bottom of the scale is dark (minor second, minor third), the middle is stable (P4, P5), and the top of the scale is bright (major 6, major 7). Some chords you create with the added note include i with a major 7, and IV7. Those are the only chords with P5 intervals but without a fifth, the is the bII7 and bIImaj7, and the vi chord can have a major and/or minor 3rd.

[@danielamdurer1779]

This anti-whole-tone scale is also called Neapolitan major (yes, I know it's minor - I think the "major" refers to the 6).

[@alnitaka]

An anti-scale is a five-note chord. For example, the antiscale to the F major scale is the B 6-9 chord.

[@Wonderland_Jutomi]

9:45 That elephant is perfect.

[@zardeh63]

Love the The Prisoner "you are Number 6" reference.

[@reubenshiflet]

I got a bit surprised hearing my name at the beginning of the video. great video!

[@erikthered931]

God, I was lost before the halfway point. Does the rabbit hole ever end??

[@TurtwigX]

I have never understood set theory, but the concept of anti-scales and anti-scale equivalence is making me want to dive in again

[@markusmiekk-oja3717]

Re: locrian and ionian being 'anti-scales', consider what tones they cover along the cycle of fifths: basically, locrian is the cycle of fifths entirely clockwise (C, F, Bb, Eb, Ab, Db, Gb), ionian is - with one exception, F - the cycle of fifths clockwise. The pentatonic scale that is "left over" after you construct the diatonic scale is also at the tail end of the cycle of fifths ... So this is sort of predictable.

[@eshafto]

Do we get to hear whatever compositions you were toying with while thinking about this?

[@JasperCoen]

Those scales certainly don't feel like compliments

[@rexen7732]

😂Underrated comment.

[@ethanjyoungmusic]

wow. . . I think my mind may have been beat up but I think it's interesting to see what actually makes a scale through this INTENSE video

[@8Phoenix8]

I get it. :) it's the outside notes soloists use. Basically B major pentatonic scale/Ab minor pentatonic. @12tone

[@Bronze_Age_Sea_Person]

What can you do with it? I used it to make more material for music, taking old pieces I've done in Major and change every note for a gap to get a piece in Locrian, which I then could convert into Phrygian by raising the fifth or Lydian by flattening the root, then raising the third or second respectively to get Phrygian Dominant/ Lydian #2 which are my favorite modes. This way I got another technique to create new material from old ones to complement Negative Harmony.

[@laughingdaffodils5450]

Thanks for the video. You've inspired me to try a new tuning. Instead of all fourths tuning, it's all tritones tuning. Strange, it doesn't seem all bad.

[@xtruthunfiltrd1192]

I love the tritone-substitution implications in the anti-major scale. The only two notes shared between F major and B major are the subdominant and leading tone, but swapped. And a pentatonic scale is just a major scale with this tritone removed. Two major scales a tritone apart combine to account for every chromatic pitch, and they join together at their shared tritone interval.

[@argenteus8314]

I think it makes more sense to keep the note a perfect fifth above the root unflipped as well, along with the root. That way the result will be a lot more usable as long as the parent scale had a perfect fifth, and heptatonic scales will invert to other heptatonic scales (again, as long as the parent has a perfect fifth). Lydian inverts to phrygian with this technique for example.

[@luisgoemans6785]

love that FN-7-35 Star Wars refference

[@SplotchTheCatThing]

Well, completely apart from anything else, if you're really truly taking a matter/antimatter analogy as far as it can possibly go, then the opposite of a scale is all the exact sound waves that made up that scale, but upside-down. When the two come in contact, they annihilate each other.

[@rexen7732]

Really cool! I think Im7(no5) to bIIsus4(add9) and back is a really nice sounding vamp in Antimajor. I'll have to experiment further with this!

[@Lamadesbois]

8:54 : Shakira “Whenever Wherever” (intro) ?

[@AmandaKaymusic]

Curious and interesting. Loved the Floyd prism of changing the light frequencies.

[@MisterManDuck]

I don't know... I mean, I do get what you're saying about anti-scale equivalence possibly inferring something about musical structures, and I think the observations are valid for no other reason than the fact that they can be made. But there's something I've been noticing about 12edo that's been niggling at me. It's *really* really easy to infer patterns or create new ones in 12edo and any subset of it. For starters, it's an equal temperament so there's going to be some built-in symmetries that are easy to create and exploit. It's also not a big number, so the likelihood of creating an accidental pattern is higher than something like a 17edo subset, and significantly higher than a 29edo subset, at least by my reckoning. Maybe that's where you need to test this idea further to see what you get? I would suggest those edos or a multiple of 12 as it would be compsratively easy to carry familiar patterns over to those. Or 19 and 31 maybe.

[@Lucius_Chiaraviglio]

When I saw the title at first I thought this was going to be about anti-diatonic/Mavila scales. But that requires something other than 12 notes per octave.

[@TheWolfboy180]

“So while anti-scale equivalence doesn’t predict non-inversion, non-inversion does a pretty good job predicting anti-scale equivalence, which probably means something.” Not to me, it doesn’t. 😅

[@jimdanielhoxworth3374]

Ah, good, I was messing about with that concept and couldn't find any research on them. Nice to finally have something to back me up.

[@jimdanielhoxworth3374]

The best part was coming up with really dumb names for things: for example, I called the whole theory "Antiheptatonic Ancohemitonic Pentatonic Concept" and my favourite scale that came out of it is *Split Dominant Pentatonic,* the anti-scale of Harmonic Major, which when built on C looks like (C, D#, E, G, Bb).

[@jeremiahsweeney6577]

Earlier, while talking about equivalence about the four modes (locrian, lydian, ionian, and phrygian) there's a detail you got tantalizingly close to talking about: those four modes are really more like 2 modes. Lydian and locrian invert to each other, and ionian and phrygian invert to each other. I think this relates more to negative harmony than set theory or anti-scales, but maybe there's a connection here somewhere... It reminds me of when I was exploring negative harmony and realized how much it overlapped with modal mixture. In fact, almost every option available in modal mixture can be explained in terms of negative harmony (where they begin to differ is in the function of the ii half diminished vs the minor iv with a major 6 aka negative V7.)

[@12tone]

It's actually even more interesting than that: Major and Phrygian flip to Locrian and Lydian, but Locrian and Lydian can each flip to two different scales each. Anti-locrian can be major or lydian, and anti-lydian can be locrian or phrygian so you can sort of navigate your way through all four of them by successively inverting the scales.

[@jeremiahsweeney6577]

(First off, thanks for the reply!) Right! I got that, I just think it’s interesting that we’re finding so many ways that the scales relate other than just “start on a different note of major,” and I’m wondering if there’s a sort of connection between inversional equivalence and anti-equivalence, so to speak. Certainly, it provides a novel way of navigating between those modes. I’m curious about the anti-scales that don’t fit into the regular group of modes; I tried playing with a few and was fascinated by the color! Might write some miniatures, if I can pull together some time.

[@rodolphov.santoro8829]

When you talked about the 400+ scales, programming it to find out was the first thing that came to my mind. Good thing your dad programs as well. But if you didn't know any other programmer i'd happily do it(though i might still try it just for fun).

[@12tone]

It was a fun programming challenge. More difficult than we expected, and had to do a couple debugs before we got it working, but nothing too fancy.

[@n-Chantreuse]

I knew Allen Forte's book would be useful eventually.

[@joelluth6384]

I wonder how many times I'll have to watch your videos before I understand them. Gonna try though.

[@HikaruKatayamma]

Listening to this was confusing at times, but not for the reason you'd think. Every time a "set" was mentioned, I'd think of set mathematics since I'm an SQL programmer. I kept thinking "but...where's the math?" Yeah, stupid but humorous at the same time.

[@aszjeriah]

Would you do an understanding of Love Bites by Def Leppard?

[@noambarenholtz5804]

2:20 When 12tone is feeling frisky he composes two different instrumental lines

[@ParsevalMusic]

parseval.bandcamp.com/track/found-in-attic-22 sorry for spamming but actually in my song aeolian and dorian run together :P

[@YourAverageLink]

Hey what software do you use to play the piano notes in your videos? I like the timbre of that particular midi instrument, but I don't have access to it in MuseScore which is what I use.

[@12tone]

It's the A Grand Piano patch in Reason 8.

[@vrixphillips]

I feel like you should be submitting this as a paper to a Music Theory Journal of some sort lol. It feels groundbreaking :O idk why, I just get that feeling.

[@seanlasater2762]

Now this is what I'm talking about!! Great Video!!

[@alexisjones6670]

This was really cool. But your Taco Cat looked kind of like a Cat Taco (no external legs).

[@yurivincentweber]

So I've had this question in my head for a long time, and this seems like an appropriate video to ask, sorry if I go off on a tangent here: Do "stacked" scales exist? As in, first I take Dorian, and on the next octave, Lydian on the same root. Basically, 1 2 b3 4 5 6 b7 8 9 10 #11 12 13 14. You end up with a two-octave scale that combines both, allowing for chord extensions outside either mode. Considering the content of this video, I'm assuming something like this must exist, or someone must have thought about it before. Are there any compositions that use this? Does it have a technical name?

[@kungfuasgaeilge]

Check out Sideways' video 'Why Miyazaki's Films Sound Pretty' if you haven't already. He talks quite a bit about stacking tetrachords to create scales, which is pretty close to what you're talking about. I'm sure stacking full scales has a proper name, I (a complete novice) have mused on it before, so there have almost certainly been some hardcore theorists crunching the numbers and giving everything jargon. Link to Sideways' video: /watch?v=4bZ19hnr8vc

[@reubennb2859]

I like to stack the Lydian tetrachord, 1, 2, 3, #4 and start each following tetrachord on what would be the perfect fifth of the previous one. This creates some lovely consonant sounding melodies and lines while allowing modulation and sounding pretty over massive quintal voicings. In terms of creating other multi-octave interval structures as you suggest, Allan Holdsworth supposedly experimented during his improvisation, playing over bitonal chords. I struggle to pick up on examples in his music, but it's worth a listen anyway for the harmonic and melodic richness.

[@HiMom1311]

This is awesome work, very interesting. Thank you!

[@Seltaeb_]

So with 7 note scales, chord building is kind of easy. By that I mean I'm familiar with it. What about chord building with 6 or 5 note scales? Would stacking thirds still be the most efficient way to do it?

[@12tone]

Yeah, generally my approach is to do alternating notes like normal, but treat whatever the largest scale step (or scale steps, if you're on 5 notes) is as two notes. So, like, in anti-major I'd probably harmonize it almost exactly like Locrian unless a chord contains the 4th, in which case I'd replace it with one of its neighbors. You can also just abandon the rigorous model and look for any chords you can make out of the available notes.

[@donngoodside6885]

12-tone ___ I do not understand what you are saying...but I like the way you say it. lol

[@francoisrd]

5:02 set FN 7 35, also known as Finn's twin brother

[@divaldorocha7837]

I wonder if he always eats the gummy bears after the last shot! hahaha I know I would!

[@This1Person]

Great Scott!

[@ksmkeys]

Man you should seriously study Indian raags, at least the scalar structures, I can relate to these awesome videos of yours!! Those unknown scales that you refer to, intervals not found in any minor scales at around 3:50 can also be found in Indian classical. Give it a thought :)

[@excitinguniverseofmusictheory]

I'm interested in doing a rigorous examination of this. Can you contact me?

[@basstian]

Marvellous! So interesting. I loved it.

[@danielnodland4072]

I really like your stuff.

[@MattMoney]

Really weird and cool

[@enricopersia4290]

Got lost in some parts but very instructive

[@thatisjustgreat]

the opposite of a scale is an elacs

[@zxcvbnm2491]

-1(scale)

[@HighlyImprobableName]

Wait, how long has that 1 frame of dotty sheet been appearing between pages? You're going to make me check the entire archive aren't you.

[@12tone]

It's the backing page, it's there to absorb the excess ink so it doesn't soak through to the table. It sometimes shows up in transitions 'cause those are just really sped-up shots of me changing the page.

[@JariSatta]

I like it!

[@ashleycrane415]

Hey 12tone at 9:29 how does that fit with ascending and descending scales? Sorry.

[@neruval8998]

I hate how all those apparently elegant things you come up with (and it's in no way an insult, I do appreciate your work) turn to dust once you realize how mathematically sacrilegious equal temperament is. What I mean is, all of this is very deep and interesting study of certain properties of modulo-12 arithmetic, but such symmetry is not really natural to music.

[@JosePerez-os6ew]

Could you please do "To Live is To Die"??

[@avvvqvvv99]

since all diatonic scales have two half-steps, could an anti-scale be made by moving the distance between half-steps?

[@rhandhom1]

This one has a lot to unpack.

[@WilliametcCook]

1:26 I don't know if this is just me but starting a tune with any four consecutive ascending natural notes sets off my Lick-Detection Mechanism

[@MichaelDarrow-tr1mn]

so we're looking at scales that share 2 notes with one of their modes, one of which must be the root. interesting

[@diogomendes6858]

Can you do about the song blood brothers of iron maiden ?

[@shadowslasher6121]

Isnt Phrygian the third mode of a major scale. Dont mean to nitpick. Im just makin sure im catching everything youre sayin right haha

[@12tone]

Yep, I misspoke. Good catch!

[@kevinlel]

"Phrygian, the second mode" what

[@RizalBudiLeksono]

Third

[@robertherbstritt7899]

Why would you chose to rearrange the outcoming notes of "antiscale" to B-Major Pent? It's a Mixoldyian Pentatonic in IV Mode. From my point of view, an antiscale would then be a scale that represents the missing notes of your scale. But this is not the opposite of a scale at all. The opposite of a scale is no scale. Or in other words: if you don't scale frequencies you got the opposite of a scale in letting it be - saying the title is misleading to what it's actually about.

[@robertherbstritt7899]

maybe a "contrascale".

[@KyleMart]

The idea of an "anti-scale" sounds cool, but I doubt it has any practical application to music.

[@realmrjangoon]

i broke my brain with this video

[@Evan-mo5gp]

the natural minor anti-scale sounds like a blues scale.

[@Armakk]

This broke my head open

[@ultratot]

8:56 and 9:13 shoutout to SikTh! kzbin.info/www/bejne/hWmmYWBue6Z2jdE

[@rudyvinkemulder9860]

Please analyze Diary of a Madman by Randy Rhoads / Ozzy Osbourne.

[@erebys21]

There are so many "your mom" jokes here

[@nicefighter]

and then there's my music which doesn't really have a set scale

[@Ric-Phillips]

It was the very modal of a minor major antiscale....

[@VanJazzFan]

1:59 Patrick McGoohan would approve.

[@annajull328]

6:45 what’s the tenth one?

[@12tone]

Set FN 7-z12 isn't represented.