User:CompactStar/EDO impressions: Difference between revisions

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[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.

[[6edo]]: By far the most popular of the 12edo subsets, it has ~~quite~~ a directionless sound unless the type of ~~very~~ brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just ~~boring~~ to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).

[[6edo]]: By far the most popular of the 12edo subsets, it has a very directionless sound unless the type of brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just mediocre to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).

[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

[[8edo]]:

[[8edo]]: This is an EDO system that is known for its dissonance, which is true but probably not to the extent to justify its reputation. You can in fact use tertian hermony here, but it will not be very "rooted"–the "minor" triad [0 2 5] can, in certain contexts, like a major triad with the third in the bass, and vice versa for the "major" triad [0 3 5]. The 5\8 interval will only be a mild dissonance unless you are using a timbre in which both the second and third harmonics have a strong presence.

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 [[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.
-[[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just boring to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).
+[[6edo]]: By far the most popular of the 12edo subsets, it has a very directionless sound unless the type of brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just mediocre to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).
 [[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.
-[[8edo]]:
+[[8edo]]: This is an EDO system that is known for its dissonance, which is true but probably not to the extent to justify its reputation. You can in fact use tertian hermony here, but it will not be very "rooted"–the "minor" triad [0 2 5] can, in certain contexts, like a major triad with the third in the bass, and vice versa for the "major" triad [0 3 5]. The 5\8 interval will only be a mild dissonance unless you are using a timbre in which both the second and third harmonics have a strong presence.