I immediately thought of a quote from the movie Amadaus (About Mozart)
EMPEROR: Of course I do. It's very good. Of course now and then - just now and then - it gets a touch elaborate.
MOZART: What do you mean, Sire?
EMPEROR: Well, I mean occasionally it seems to have, how shall one say? [he stops in difficulty; turning to Orsini-Rosenberg] How shall one say, Director?
ORSINI-ROSENBERG: Too many notes, Your Majesty?
EMPEROR: Exactly. Very well put. Too many notes.
MOZART: I don't understand. There are just as many notes, Majesty, as are required. Neither more nor less.
EMPEROR: My dear fellow, there are in fact only so many notes the ear can hear in the course of an evening. I think I'm right in saying that, aren't I, Court Composer?
SALIERI: Yes! yes! er, on the whole, yes, Majesty.
This certainly is an interesting area to explorer musically. Want can we do with a piano if we had more than ten notes to play at a time. Right now it is HOW many can we play and still sound musical from the samples I saw.
There's another nice Mozart connection to unplayable music in the story of the bet between Mozart and Haydn, where the former bet the latter he could write a piece of music Haydn't couldn't play. It required striking a single note in the middle of the keyboard when the hands were very far apart.
Haydn tried it and failed. Mozart struck the key with his nose.
EMPEROR: My dear, young man, don't take it too hard. Your work is ingenious. It's quality work. And there are simply too many notes, that's all. Cut a few and it will be perfect.
Well, they both sound like someone just combined the lead/solo and rhythm/background section into one piece played on one instrument, which is neat, but not some mindblowing display of the limitations of current music theory and instrumentation.
I imagine our hard limit is human attention. We can focus on the lead and to a lesser extent listen to the background stuff but probably not listen to much more. I don't think we can really focus on some large complexity. That just ends up sounding like a discordant cacophony to us. If anything, we're made to enjoy fairly simple musical relationships. Chords can only get so complex before they sound off to us.
It seems to be a happy little coincidence that ten fingers is enough to make complex music without hitting too many practical limits. Just because that limit exist doesn't mean its wrong and that we need to overcome it. The same way a third leg won't let us run faster, fight better, or climb better.
Audio's not good, alas, but it's actually being played by a human. It sounds like it's got all the complexity of the machine-played one, which of course it doesn't --- which does suggest that the extra complexity wasn't adding anything in the first place...
Rather than sounding like it, that's actually what they are. I'm inclined to agree with the rest of your post, although there's certainly room for people to expand their knowledge. Death Waltz is an interesting exercise but definitely overplays its hand in a few parts and adds too much to the song, when Zun's compositions already err on the side of doing too much to begin with.
>Both get a little carried away, but the main melody is clear and pretty interesting.
In case it wasn't clear, "Death Waltz" is just a cover of "U.N. Owen Was Her?" from the Touhou games (as are many of the more popular black MIDI songs from what I've seen).
Circus Galop was actually originally written for player pianos, not "in" MIDI, but with a surprisingly similar goal in mind to black MIDI. https://en.wikipedia.org/wiki/Circus_Galop
It has been proved that the subconscious finds more pleasurable musical simplicity or pieces that despite having many notes can be reduced to simple patterns:
There is a long held theory that the subconscious mind can recognise patterns within complex data and that we are hardwired to find simple patterns pleasurable. Dr Nicholas Hudson used 'lossless' music compression programs to mimic the brain's ability to condense audio information. He compared the amount of compressibility of random noise to a wide range of music including classical, techno, rock, and pop, and found that, while random noise could only be compressed to 86% of its original file size, and techno, rock, and pop to about 60%, the apparently complex Beethoven's 3rd Symphony compressed to 40%.
Random noise cannot be (on average) loselessly compressed, not even by 0.0000001% of the original size. To see that it is the case it is sufficient to notice that a compression algorithm is essentially a way to reorder all possible inputs, all at once, and then apply the pigeonhole principle. Kind of similar to the proof that if a loseless compression algorithm shortens at least one input, it must also extend at least one.
Claiming that there exists an algorithm that loselessly compresses random noise to 86% of the original size is just wrong.
It could have been pink noise rather than white (an argument for using it here would be it has a more similar spectral content to music). Pink noise definitely compresses more though still maybe not that much.
Comparing music complexity with audio data compressibility sounds like a big stretch. Music made of random notes doesn't sound anything like random noise, and a simple lullaby where the instument would be a random noise flute would still be hard to compress.
Compressing midi files would probably have been nore useful, and I doubt classical music would have topped the charts.
"Someone once said that the Philistines just try to sing too many notes at once. And that the notes seem to stumble and fall over each other. Listen to the Philistines' bubbly song as it gains speed and complexity as it moves along."
>Want can we do with a piano if we had more than ten notes to play at a time.
Zappa explored this heavily with his synclavier work. Wasn't a fan, but the early MIDI sound of it it turned me off more than anything and I didn't give it a fair shake.
Composers have been known to write in fist-clusters and forearm-strikes that resemble the sort of stuff going on in the video. Ben Folds in the early days would often slam his piano bench into the keyboard to hit quite a few more notes than would be possible using just one's arms and hands, even.
Conlon Nancarrow, who was mentioned at the beginning of the article, challenged those limitations pretty hard. In his home studio, he had two player pianos physically synced, and the felt hammer heads replaced with steel hammers. There was sometimes so little paper left on the rolls that they would shred and jam while playing.
Despite the busy approach, though, Nancarrow's music tends to be joyous and delightful. It reminds me much of Duke Ellington's orchestral compositions.
The weirdest thing: my son who is autistic is fascinated by this music and can't seem to let go. He keeps watching/listening to every "black MIDI" out there on youtube.
So i made him listen to it and he didn't seem interested. He instead turned to his staple videos instead, some black midi and lot, lot of "Klasky Csupo."
Has anyone ever created an "inverted" song? For example, take the Ode to Joy melody and play every other note BUT that one. Maybe limit yourself to one octave so it's at least somewhat listenable. Wonder what that would sound like.
Not what you were asking for, but there has been something similar for compressed tracks[0].
Take the uncompressed track compare it to the compressed track, and then generating a track that is composed of the portions removed by the compression algorithm.
>Has anyone ever created an "inverted" song? For example, take the Ode to Joy melody and play every other note BUT that one.
That would just be a cacophony -- the relations used for notes in a symphony do not exist in their "complement" (all other notes except those in the current harmony).
E.g. for the trivial case of a single C major triad chord, the "inverted song" would be: "C# D D# F G# A A# B B#" which is mostly cacophonous noise, even when restricted to one octave.
(If we restricted the notes to the same scale D F A B would be slightly better, almost a D7).
It's not exactly what you are saying, but working with the complement of a given set of pitch classes (that was used in the previous section/bar or in another voice for example) is common in twelve-tone music.
So, if, for instance, an instrument is playing a melody that uses the black keys exclusively, an accompaniment (or a contrasting section) could be made that used only the white keys. The result tends to be dissonant, but it isn't necessarily dissonant to the extreme or in absolute.
Unrelated note on terminology:
By inversion of a melody, we usually mean playing it upside down. So F A G would become F Db Eb. It's contour is inverted. This is done as a means of development of the melodic idea and/or in fugues/canons/"counterpointistic music in general".
As for the unplayed notes: each note is a harmonic series of pure tones (F, 2F, 3F, ... where F is the fundamental frequency). Different notes have some degree of (sometimes approximate) overlap in their harmonic series (indeed, the greater the overlap, the more the notes sound to be in harmony). So, all of the tones in the un-notes' harmonic series will still be present as overtones of the other notes. Therefore, the un-notes would likely be a fairly subtle damping of a few frequencies.
I see what you're getting at... I don't think you can create something musical by inverting an existing song, but as a strategy for creating new music, it seems like you could create really interesting sounds by playing all of the notes and changing the sound by removing some notes. It seems to be what's happening at about 2:04 in one of the songs linked to the article.
Nice comparison :) That's exactly what's been done on a lower (DSP) level with the harmonics of a sawtooth wave, giving rise to, among other things the beautiful sounds of the TB-303 :)
Interesting idea. I propose calling it the "complement" of a musical piece, since "inversion" already has a very different meaning in music theory, and what you suggest is kind of like the complement of a set, anyway.
Like some of the other comments point out, I expect it to sound between either cacophony, and "a subtle dampening" of the notes not played. But maybe, just maybe, the effect is enough to make out some structure.
Another thing that becomes real important here would be the exact tuning and timing of the notes. Regular harmonies of notes line up the harmonics of the sound in interesting patterns. Two notes played together an octave (2:1 = 2x frequency) apart, the high note is basically a subset, made of exclusively the 2nd, 4th, 6th, etc harmonics of the lower note. But when played a fifth (3:2 = 1.5x frequency) apart, the high note shares the 3rd, 6th, 9th etc harmonics with the lower note, but also has new frequencies in between that are not present in the lower note. Other musical intervals are based other ratios, creating other patterns of shared harmonics[0].
But then, if you play most of an octave at once, minus three notes or so, you're going to get really complex patterns. Then comes the question of tuning, I see two options: The "just intonation" uses exact integer ratios of frequencies, so that the harmonics that should theoretically line up indeed do line up exactly. The other option is "equal temperament" tuning, that has a constant frequency ratio between every semitone of 2(1./12) = 1.059463:1, so that if you stack 12 of them, you get 2:1, the octave.
Now, most synthesizers and such use "equal temperament", meaning you get exactly 12 semitones per octave (like a piano has) and that is actually the only system in which the "complement" of a melody actually makes logical sense. Because no matter in what way or order you play your intervals, they are always integer powers of 2(1./12), meaning that there's always a finite[1] number of notes you can either play or not play. In set theory that's called the "universe", and you really need it in order to define the set "complement" operation. Unfortunately, apart from the 2:1 octave interval itself, none of the other intervals are exact integer ratios, meaning that those nice harmonic lining-up patterns (that we would hope would still provide some structure to the cacophony of notes in a song's complement), don't quite line up any more and you'll get beating frequencies in the lower parts of the spectrum (where they almost-but-not-quite line up) and just near-random cacophony in the upper parts (because the error magnifies there). I dunno.
The other option, "just intonation", is harder in MIDI. A tuning is defined by its intervals, and if they are small integer ratios, then multiple steps along those intervals multiplies those ratios, and so if you step back and forth, you get this whole "Q" (set of rationals) type of infinitude of possible frequencies. So you can't say something like "play all the notes except this one" because you could take a few integer ratio interval steps and end up with a frequency very close to the original one (arbitrarily, even), but definitely not the same. So is that a note you did not play and should play in the complement? Cause there's an infinite number of those. Maybe you could do some math and determine the frequency spectrum in the limit though (if it doesn't end up as white/orange noise).
Maybe the best way to go about it is, convert the melody to just intonation, and then take the "universe" to be the full set of all notes in that particular melody or musical piece. At least that's a finite amount.
[0] If this is the first you're hearing about this: don't bother making sense of the names (fifth, octave) and how they relate to their frequency ratios. There's reasons for the names, but not very good ones from a scientific point of view. They are mostly historical, related to features of particular instruments, and to particular musical traditions specific to certain eras. It's not unlike how the mess of quirks that is HTML came to be, really.
[1] Given an upper and lower-bound for frequency. Say limits of human hearing 20Hz-20kHz (is a bit larger than the 7bit range of MIDI, but really not the point here).
This is fascinating! They took a medium I had always classified as a cheap imitation of a real piano, and accentuated its strengths to make it something incredibly! Blocks of notes for percussion, impossibly fast trills for a different timbre of sustained notes, melodies that are detectable aurally but not visually... Awesome!
> They took a medium I had always classified as a cheap imitation of a real piano
It's all down to the sound generator at the other end of the MIDI cable though. Electric piano's are pretty amazing sounding these days. Lots of music creation software uses sampled, live instruments and some of those are recorded at very high quality. All of which can be driven through MIDI too, although there are obvious limitations to the way a professional can play a real piano, most people would be hard-pressed to tell the difference in a blind test.
If it can make a sound, it can be a musical instrument. Black MIDI is really the shallow end of the avant-garde music pool.
I once watched a percussion solo that consisted of a drummer very carefully crumpling a sheet of cellophane. It was beautiful, musical and moving (albeit not very loud). Using things that are not "instruments" as instruments is pretty common among percussionists, and sometimes melodic musicians as well.
Mmmm. Reminds me of some of the most interesting Drum & Bass that I come across in my listening / purchasing. From what I can tell, it has about the same appeal haha.
I've been legitimately impressed by the abilities of certain artists to really push the boundaries and limits - in my opinion - of packing in musicality in the D&B platform. One I can point to would be Camo & Krooked[0]. Another that sort of crosses into bass music would be Knife Party[1]. What they have in common, to my ears, is that they're able to embrace the full spectrum of available sounds. High peaks and really, really deep bass. Then, with so much digital control, they can go up and down, place certain sounds in certain tonal areas...it's just amazing to me.
One of the things that infuriates me about music commentary is the tired refrain of "rock is dead" or "music isn't original anymore" because frankly, they're not true. Rock continues to be a broad genre, and I really see electronic-production tunes like Skrillex an extension of rock and metal in that it appeals to a younger audience (predominately) and is very abrasive to 'traditional' ears.
Music is really going through a metamorphasis of innovation thanks to software like Ableton and the numerous brilliant synths out there. It's one thing to say "I don't like that music" but it's completely dishonest to say nothing's original anymore. Yes, there will always be 'trend jumpers' and some formulaic stuff (it goes for all genres, and specifically anything Max Martin touches), but now and then, BAM. Something shows up and moves the needle.
4 minutes in... there were a few people/groups that did this style for a while. Aphex Twin was the most popular artist that crossed into this territory, but Venetian and others took it a bit more "purely" into the drill area.
Sonically and technically, compared to the black MIDI thing, it's more open-ended.
The limitations to this area are the focus on percussive elements vs. tearing apart other pieces of the palette with as much care.
I'd say Autechre - Gantz Graf[1] was a closer match as it has the dense production while still having some essence of a melody (albeit in the less traditional sense of the term).
But since we're talking about Aphex Twin, Mt Saint Michel[2] deserves an honorable mention. (bonus points to anyone who's familiar with the Tate Modern exhibit that was based on this track and a video of a cyborg monkey drumming)
I was linked to Veneitan Snares when searching for 'breakcore', which is the genre I found when searching for Igorrr, which is erm... an interesting mashup of all kinds of musical styles.
Never attempted to get granular, not in the least. You also didn't mention Jungle, so, you know, it's a big universe. I was simply mentioning artists that appeal to me. I've got a good deal of Aphex Twin stuff, including purchasing the new Syro, Computer Controlled Acoustic Instruments, and following him on Soundcloud. Black MIDI and programming electronic music have quite a bit in common, in that 'good luck playing that live with just 1 guy' is a pretty basic correlative.
The potential artistic value here doesn't appear to be so much in the pure number of notes, which is not particularly impressive in itself, given that MIDI files are easily auto-generated. But the examples given remind me most of all of the old early days of overdriving vacuum-tube based amplifiers till you got the crunching of the waveforms and created an entirely new sound.
Here, the folks creating these files are creating new kinds of sounds by overdriving their MIDI synths, essentially. By providing more notes than can actually be generated at once, or at rates faster than the chosen synth patch can coherently render, you can achieve new and unplanned sounds and effects.
Essentially the same idea as getting the explosion-type of sounds out of old 8-bit PCM synths in game consoles by overloading the input beyond spec.
The music looks incredibly dense, but I wonder what would happen if you took a symphonic score and put all the notes on the same staff. (and also wonder if they could get significant reduction in note count by using different instruments besides a piano)
As much fun as the black MIDI is, you should also check out the music of Conlon Nancarrow, who was mentioned prominently at the beginning of the article. Unlike black MIDI, which tends strongly to the metronomic behavior of drum machines and modern computerized music, Nancarrow's music swings. His heart wasn't in 8 bit video game sounds, but rather in 20th century avant-garde classical and jazz.
The closest tonal reference for most people would be certain kinds of soundtrack music, especially older mystery movies and kaiju films from Japan. But it's more musically interesting, and more human, than the relatively simplistic sounds of black MIDI.
Kyle Gann - Bud Ran Back Out (Mechanical Piano Study No. 6) (2001)
"The question was whether I could make the Disklavier respond as fast as Bud Powell played. Doubting that I could surpass him, I added some tricks that I hope Powell might have envied, such as playing his ultrafast melodies in chromatic sixths and triple octaves, and simultaneous melodies in tempo ratios of 7 against 8 against 9. It was time for technology to provide a new spin on Thelonious Monk's composition In Walked Bud. The piece is dedicated to Thurman Barker."
A normally electronic musician, Dan Deacon, has used some very complex player piano arrangements. When he recorded his album Bromst, they set up multiple MIDI player pianos to play the midi arrangements. What I found very interesting is that the density of the notes actually builds up to a very full and soothing (to me) sound, when played on the analogue instruments rather than on a computer. This is an album I play when driving through the woods or staring at the stars. There is texture to be heard from all of the hammering keys, but the notes all combine to a smoother and very meditative, calming, uplifting sound. I feel like like that fullness of sound from the analogue instrument allows the listener to here the overarching melodies, rather than focus on how many notes are being played.
Here is a link to a documentary about the recording of the album linked to a visual of the pianos playing:
There's a "too many notes" version of Bad Apple? Hmm... I think I'll stick with marasy8's incredible cover[1] of the song.
Not that there is anything wrong with noise. As a fan of CCCC (Mayuko Hino)[2], I have often thought noise is best when it is played directly (analog), instead of the digital perfection of MIDI. I like my digital noise when it's written in Fourth[3].
It's interesting how this sort of blurs the line between composition and sound design. At some point I would only really call these "notes" in the strictly technical sense that they are encoded as such in the MIDI stream, while the compositions themselves seem like relatively straight forward songs. In that sense, songs like Circus Galop (written for player piano) are more interesting compositionally.
What I find particularly interesting to watch is the patterns drawn by some of those YouTube videos when the notes are struck. A visual art as well as the sound.
(To clarify - I feel the clip from Amadeus is somewhat amusing in this context, but to those who critique black midi as music, I don't think it is really ... it's art).
Sure it is. It just depends on what you enjoy. It's called subjective experience and it's a pretty big deal for art. In my experience, that "Bad Apple" tune in the article is sublime, strange, beautiful, funny, and novel, all enjoyable characteristics.
Heh, I saw your post before I read the article and thought "surely it can't be Bad Apple from Touhou." But it is. If you know the tune, you can hear it in the video, but it's a pretty weird corruption of the song.
I guess I'm not surprised to see Touhou music being popular in this scene. It's pretty baroque and bombastic to being with, so taking baroque style to its logical conclusion is..... this. I'm not a fan, but I can see the thread. (Aside, if you want a modern take on classical music, check out some of the later Touhou soundtracks. You might find yourself surprised for video game music.)
Also a little Totaka's song easter egg in the middle of the first video, if you're into obscure video game minutia.
I don't know anything about video games, but I understand the piece is a heavily modified version of that tune... and yeah, part of the "charm" comes from the corruption of the way the software can't handle the extreme amount of notes. Like a weird digital and arrythmic version of amplifier distortion.
You may have noticed that my rejoinder was not entirely serious either.
Of course it's less accessible. In terms of enjoyment though, I actively seek out non-accessible music, because some of it seems to tickle a particular funny-bone and I don't find that in accessible music.
The music I put on to really enjoy on a visceral level is stuff that I can't even play ten seconds of in public settings without people yelling at me.
I dunno, people seem to find even this stuff inaccessible, but it's some of my favorite music ever:
I haven't even heard of that! Oh, it's another project with the drummer, Morgan Ågren. He does a lot of cool stuff (including the educational drumming TV show from which that link was a clip).
While googling I found a kickstarted documentary about him from 2013.
Mats Öberg, the keyboardist, is also an excellent jazz pianist and seems to play on loads of new Swedish jazz records. Here's him with his own jazz trio. He also has two very beautiful solo piano albums (they're on Spotify and iTunes).
While I'm geeking out... that Mats/Morgan song "Hollmervalsen" is named for Lars Hollmer ("Hollmer waltz"), a composer who played accordion and keyboard and was an important part of the Swedish progressive music scene in the 60s/60s. That scene split into a more political part and a more freaky part, and we're talking about the freaky part.
His band Samla Mammas Manna ("Gather Mother's Manna") made some truly remarkable music. They took influences from Swedish folk music and combined it with Zappa-ish jazz rock. With the song "Musmjölkningsmaskinen" ("The Mouse Milking Machine") from 1974 you can understand they were an influence on Mats & Morgan.
wow, cool. it's like a musical equivalent of semantic saturation. they zoom in on a phrase and repeat it with such odd signatures that you lose all frame of reference, but then they move onto the next part and it makes sense in the context of a greater picture / chord progression. thanks for the rec!
Nice description! Yeah, the cuts in that song are really fresh and interesting. At one point in the second half they're jamming out pretty hard and then suddenly everyone starts screaming for a few seconds, Mats pulls up his shirt and laughs, and then the guitar guys goes into an awesome solo. I always laugh at it.
The rhythm changes are just awesome too. When I first listened to it they were pretty disorienting but after a few listens I could tap my feet to it and it's so satisfying.
Here's another polyrhythmic song that's confusing at first but then really satisfying. It's by Avishai Cohen Trio, I couldn't find the original but this cover is pretty good.
> Surely you'll admit that this is far less accessible, in terms of enjoyment, than a lot of other music.
One cool thing about the internet is the 'long tail' effect that you don't hear much about anymore that allows for all those microgenres like this to thrive.
I'm sure many people would say the same thing about some of the music of Conlon Nancarrow. But having earned himself — among many honors — a MacArthur award and a recent retrospective exhibition and performance series at the Whitney Museum of American Art in NYC, it seems that others have found way to enjoy his work despite (or perhaps because of) its nonconventional sound.
For what it's worth, the couple of random Black Midi videos I watched from this thread were much more enjoyable than a random Nancarrow video: https://www.youtube.com/watch?v=LFz2lCEkjFk
So I'm not sure how you can say "there's no comparison".
Speaking as someone who's been playing classical and new music as an avid amateur (e.g. community orchestras, university orchestras) for several years, stuff like that isn't meant to be enjoyed as such. You don't put it on and relax with a glass of wine like if you were putting on a Grover Washington record or something by Sibelius.
I wouldn't even say it's supposed to be in the group of "challenging but at least somewhat structured and therefore listenable" not like In C (Terry Riley, if you're curious) or Music for Pieces of Wood (Steve Reich).
It might be intended to challenge what we think of as music, or challenge our assumptions about mechanization and culture. I'm not at all familiar with Conlon Nancarrow, but if he's in gallery exhibitions, and not on tour, that's the angle.
Exactly! In the same vein I find beat boxing to be interesting but I have yet to find a full length album I'd listen to. It seems the novelty wears off so quick with this form of art.
One of the things that separates proper avant-garde art from other art is that "enjoyable" isn't a concern. I recently got to see the avant-garde chef Ferran Adria speak (probably the most important chef of the past 30 years), and one of the key questions he asked was, "Is it my job as a chef to make a meal you will enjoy?" (paraphrased from memory, and he had a translator onstage, so...)
This is a critical question. I used to play avant-garde music myself, in a guitar + drums improvisational duo. It wasn't our job to make music anyone else liked, or even music we liked. We were exploring the limits of sound and the interrelationships of the instruments and ideas. To this day, even in much more mainstream contexts, I play a lot of guitar that doesn't "sound like a guitar". I learned a ton about my instrument, and about sound and music.
Edit: OK, since someone's going to downvote me for asking that question, I'll add a bit more context:
Duplicate submissions are supposed to be ignored. The URLs for these two submissions appear to be identical, so my question stands: how has this happened?
Duplicate submissions haven't been ignored for a long time, and HN was even actively emailing submitters and asking them to resubmit stories. Now, from what I understand, the software is automatically resubmitting stories (or just renewing stories) that their algorithm says probably deserved more attention.
We've merged the comments from the other thread to here. A side-effect is that a couple of comments have timestamps older than their parent—the author of the parent comment posted it twice, and we moved the older replies to the newer post.
EMPEROR: Of course I do. It's very good. Of course now and then - just now and then - it gets a touch elaborate.
MOZART: What do you mean, Sire?
EMPEROR: Well, I mean occasionally it seems to have, how shall one say? [he stops in difficulty; turning to Orsini-Rosenberg] How shall one say, Director?
ORSINI-ROSENBERG: Too many notes, Your Majesty?
EMPEROR: Exactly. Very well put. Too many notes.
MOZART: I don't understand. There are just as many notes, Majesty, as are required. Neither more nor less.
EMPEROR: My dear fellow, there are in fact only so many notes the ear can hear in the course of an evening. I think I'm right in saying that, aren't I, Court Composer?
SALIERI: Yes! yes! er, on the whole, yes, Majesty.
MOZART: But this is absurd!
https://www.youtube.com/watch?v=dCud8H7z7vU
This certainly is an interesting area to explorer musically. Want can we do with a piano if we had more than ten notes to play at a time. Right now it is HOW many can we play and still sound musical from the samples I saw.