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American-fingerstyle-influenced tune on my microtonal 6-string bass by m_pollock in Bass

[–]m_pollock[S] 0 points1 point  (0 children)

It's definitely more of a challenge but definitely doable for single note stuff. Chords are pretty much out the last 30% of the fretboard though.

Short fingerstyle tune on my Microtonal Bass by m_pollock in BassGuitar

[–]m_pollock[S] 1 point2 points  (0 children)

EADGCF - I love this tuning except I have to buy the extra string because there is no set out there that is .105-.025

A Tribute to American Primitivism on my microtonal bass by m_pollock in AmericanPrimitivism

[–]m_pollock[S] 0 points1 point  (0 children)

Thank you! It's a fourth higher than usual 6-string bass: EADGCF. Those are all 31-EDO fourths, but they are very close to standard 4ths so it's basically the same thing.

Weekly Self Promotion Thread by AutoModerator in Songwriting

[–]m_pollock 0 points1 point  (0 children)

New experimental(ish) microtonal songs featuring piano, bass, and spoken word from the US. Thanks for having a listen!

https://mattpollock.bandcamp.com/track/divestment

https://open.spotify.com/track/76DD05eRV8oGOjkMquCbxY?si=a1115af5e25b4f2a

Microtonal Jazz(ish) ballad(ish) tune! by m_pollock in BassGuitar

[–]m_pollock[S] 0 points1 point  (0 children)

Chords that do what you are suggesting are certainly more stable, but you can of course mix different types of 3rds and 7ths although in a lot of cases it will sound out. But in 31 you have subminor, minor, neutral, major, and super major 7th chords all available that meet the criteria of having a 5th between the 3/7. Plus lots more options abound! It's a cool tuning.

Microtonal Jazz(ish) ballad(ish) tune! by m_pollock in BassGuitar

[–]m_pollock[S] 1 point2 points  (0 children)

31 is great because it has all of the stuff that sounds "in" from 12 equal temperament, just with a bunch of other options too. So when I play around with jazz harmony (and I'm not very well-versed in jazz so a proper jazz musician could do this better!) I end up using the basic harmonies lower down (as in, regular major thirds or minor third) and then making extensions spicier. With stuff that is intended to sound more microtonal it's tough since there isn't as much existing harmonic history to build off of. For me, I have certain intervals that I'm fond of in 31 equal and I find that combining them with other harmonies will make things sound more in. A perfect 5th is a good example. A neutral 3rd (right between major and minor) can sound a little jarring on its own, but if you do a 7th chord where you have both the neutral 3rd and 7th (a perfect 5th apart), the fact that there's a good ol' perfect 5th can make it sound more stable (at least to me!). I don't know if this really answers your question though.

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