User:ArrowHead294/EDO impressions: Difference between revisions

(2 intermediate revisions by the same user not shown)

Line 9:

== <span style="display: inline-block; height: 35px;">[[19edo|19edo ({{frac|3}}-comma meantone)]]</span> ==

Has a radically different sound than 12edo and is a great alternative tuning to get into when starting out with microtonality and alternate tunings. Somewhat loose diatonic scale, but much tighter pentatonic, making it potentially a very good choice for songs with largely pentatonic melodies like Hillsong Worship's ''Highlands''. However, its sound is much more jarring compared to 31edo or 43edo, and so it can take quite of getting used to.

== [[22edo]] ==

Equivalent to {{frac|1|4}}-comma superpyth, 22 goes in the opposite direction of meantone. You'll find harmonic sevenths in places where you'd normally expect minor sevenths (e.g. C–B♭ is now halfway between [[16/9]] and [[7/4]] instead of between 16/9 and [[9/5]]), subminor thirds in places where you'd normally expect minor thirds, and supermajor thirds where you'd expect major thirds. Fifths are very bright and shimmery but not wolf-sounding like 5edo is. Probably the best EDO for Superpythagorean temperament there is.

== [[24edo|24edo (Quarter tones)]] ==

Line 26:

Line 29:

This is a great microtonal tuning which is also a great gateway into microtonality for Western musicians. Has true harmonic sevenths, along with very accurate and distinct approximations to septimal subminor and supermajor thirds and sixths. Since the 7th harmonic and all of its intervals are all pretty much variations on familiar intervals, from my experience many people consider the sound of the new intervals in 36edo to be more forgiving, whereas the "new" intervals in 24edo tend to sound much more jarring and weird in comparison.

== ~~<span style="display: inline-block; height: 35px;">~~[[43edo|43edo ({{frac|5}}-comma meantone)]]~~</span>~~ ==

== [[43edo|43edo ({{frac|5}}-comma meantone)]] ==

By far my favourite alternative tuning for post-Mediæval Western music where 12edo's enharmonics aren't critical, and perhaps the most optimal meantone tuning. It has the fifths tuned flat and major thirds tuned sharp with almost exactly the same deviation from just intonation on both of them and the minor third is tuned flat by twice that amount. It's also good for microtonality involving higher-order harmonic complexes since it approximates most of the intervals involving 7, ''and'' 11, ''and'' 13 well, and has a somewhat better approximation of the first 16 harmonics of the harmonic series than 31edo. However, with so many notes, in practice it's best suited for keyboards (Lumatone ''et al''). For guitar and bass players, I don't even think it's practical to put 87 frets on any real-world guitar or bass of reasonable size; at this point I think most guitar or bass players who want to use 43 would go fretless.

By far my favourite alternative tuning for post-Mediæval Western music where 12edo's enharmonics aren't critical, and perhaps the most optimal meantone tuning. It has the fifths tuned flat and major thirds tuned sharp with almost exactly the same deviation from just intonation on both of them and the minor third is tuned flat by twice that amount.

~~== [[49edo]] ==~~

Equivalent to {{frac|3|10}}-comma superpyth, 49 equal goes in the opposite direction of meantone. You'll find harmonic sevenths in places where you'd normally expect minor sevenths, subminor thirds in places where you'd normally expect minor thirds, and supermajor thirds where you'd expect major thirds. Almost unknown compared to 22edo and even 27edo. Fifths are very bright and shimmery but not wolf-sounding like 5edo is. Has more friendly 5-limit minor and major thirds than 22edo, and much better approximations of 11-limit intervals than 27edo.

== [[53edo]] ==

@@ Line 9: / Line 9: @@
 == <span style="display: inline-block; height: 35px;">[[19edo|19edo ({{frac|3}}-comma meantone)]]</span> ==
 Has a radically different sound than 12edo and is a great alternative tuning to get into when starting out with microtonality and alternate tunings. Somewhat loose diatonic scale, but much tighter pentatonic, making it potentially a very good choice for songs with largely pentatonic melodies like Hillsong Worship's ''Highlands''. However, its sound is much more jarring compared to 31edo or 43edo, and so it can take quite of getting used to.
+== [[22edo]] ==
+Equivalent to {{frac|1|4}}-comma superpyth, 22 goes in the opposite direction of meantone. You'll find harmonic sevenths in places where you'd normally expect minor sevenths (e.g. C&ndash;B&#x266D; is now halfway between [[16/9]] and [[7/4]] instead of between 16/9 and [[9/5]]), subminor thirds in places where you'd normally expect minor thirds, and supermajor thirds where you'd expect major thirds. Fifths are very bright and shimmery but not wolf-sounding like 5edo is. Probably the best EDO for Superpythagorean temperament there is.
 == [[24edo|24edo (Quarter tones)]] ==
@@ Line 26: / Line 29: @@
 This is a great microtonal tuning which is also a great gateway into microtonality for Western musicians. Has true harmonic sevenths, along with very accurate and distinct approximations to septimal subminor and supermajor thirds and sixths. Since the 7th harmonic and all of its intervals are all pretty much variations on familiar intervals, from my experience many people consider the sound of the new intervals in 36edo to be more forgiving, whereas the "new" intervals in 24edo tend to sound much more jarring and weird in comparison.
-== <span style="display: inline-block; height: 35px;">[[43edo|43edo ({{frac|5}}-comma meantone)]]</span> ==
+== [[43edo|43edo ({{frac|5}}-comma meantone)]] ==
-By far my favourite alternative tuning for post-Mediæval Western music where 12edo's enharmonics aren't critical, and perhaps the most optimal meantone tuning. It has the fifths tuned flat and major thirds tuned sharp with almost exactly the same deviation from just intonation on both of them and the minor third is tuned flat by twice that amount. It's also good for microtonality involving higher-order harmonic complexes since it approximates most of the intervals involving 7, ''and'' 11, ''and'' 13 well, and has a somewhat better approximation of the first 16 harmonics of the harmonic series than 31edo. However, with so many notes, in practice it's best suited for keyboards (Lumatone ''et al''). For guitar and bass players, I don't even think it's practical to put 87 frets on any real-world guitar or bass of reasonable size; at this point I think most guitar or bass players who want to use 43 would go fretless.
+By far my favourite alternative tuning for post-Mediæval Western music where 12edo's enharmonics aren't critical, and perhaps the most optimal meantone tuning. It has the fifths tuned flat and major thirds tuned sharp with almost exactly the same deviation from just intonation on both of them and the minor third is tuned flat by twice that amount.
-== [[49edo]] ==
-Equivalent to {{frac|3|10}}-comma superpyth, 49 equal goes in the opposite direction of meantone. You'll find harmonic sevenths in places where you'd normally expect minor sevenths, subminor thirds in places where you'd normally expect minor thirds, and supermajor thirds where you'd expect major thirds. Almost unknown compared to 22edo and even 27edo. Fifths are very bright and shimmery but not wolf-sounding like 5edo is. Has more friendly 5-limit minor and major thirds than 22edo, and much better approximations of 11-limit intervals than 27edo.
 == [[53edo]] ==