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How to convert Felsius temperatures instantly without any maths whatsoever! ☁️ #weather #weatherapp #celsius #fahrenheit #temperature
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any temperature scale other than fahrenheit >>> fahrenheit 🤷 #temperature #celsius #fahrenheit #weather #thermostat
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I am NOT ready for Wednesday… 😭✌️🥀 #fyp #weather #memes #losangeles #rain
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Atmos v1.0.1 Bugfix Update 🛠️ 🔗 Download the update on your Apple or Android device through the GitHub, link in bio! #weatherapp #programmerhumor #webdev #coding #indiedev
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I'l debated whether or not to post this since I'm feeling tired and I don't have the energy to edit the intervals into the video. But, this is how my (unfinished) microtonal guitar sounded a while ago. Some very interesting ratios appear, like 13/10, 37/32 (if I recall correctly), 11/8, 7/5, 10/7, and many more.
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Recorded over two months ago.
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Several notes. This notation style is easy to use in *some* ways, but it can cause issues when you build chords on microtonal roots (unless you have a practical way to use quadruple arrows in this case, which I don't and it'd look terrible). This simple two-chord progression needs explaining to actually understand, which is a weakness this exposed to me. I tried naming these chords on the score, but naming them in any kind of functional framework quickly becomes a list of modifiers, so I covered them because it just becomes unwieldy. It really demonstrates how poorly 12-e.d.o.-centric naming practices crumble when handling highly complex harmonies in large tuning systems like 72 e.d.o. As for the sound, I think it's incredibly awesome. It's probably not most people's taste, but I love the very wide, full, complex harmony and textures. I seriously don't know how to make a more interesting V to I progression without it becoming something else entirely. I will post another video where I don't have the chords played as arpeggios, highlighting for you the different resolving motions. As it stands, both of these chords are supermajor chords at heart (though that is criminally oversimplifying them). The I is also a split chord with a supraminor third (the ^^b3), and it has a sub major seventh (meant to approximate 13/7 here, though it's noticeably sharp) and a supermajor sixth. The thinking here is that a septimal supermajor chords is based on the 9/7 third, creating a 14:18:21 chord. The supermajor sixth is a 12/7 relationship, so it nicely fits in. The same is true with 17/14, the septendecimal supraminor third, and 13/7. The V is . . . Heh. It has an ^b9, a 9, a supermajor third (^^3), a neutral fourth (11/4, or the half-sharp eleven), a subminor sixth, a b7, and an ^7 (maj). I *think* that's everything. This was definitely an experiment to see how much intricacy I could add without it not functioning at least mostly basically like a V. (The "suaj" in the video is an attempted abbreviation of submajor, akin to "sin" with subminor.) . . . . . . . . . . #microtonal #harmony #xenharmonic #microtonality #jazzharmony
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Zoo 25’ #clip #zoo #lazoo #wombat
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