User:Eufalesio

I am Eufalesio, a music producer, classically trained in Spain (RCSMM, Madrid), and a former MSMTuber. I speak Spanish natively and I am fluent in English. (My Soundcloud page needs some retouching...)

Discord - eufalesio

Background

Just Intonation has irreversibly the way I hear music, and it has made my career inside my conservatory quite jarring; Classical repertoire (barring historicist interpretations) and the overwhelming majority of the contemporary classical music I was forced to listen, were wholly based in 12EDO, with 24EDO being the "utter maximum" of pitch deviation tolerable in these styles. Even 12edo was "too much" for some singers and players, who just barely hit the notes or had outrageously wide vibrato that made it impossible to tell what the note was in the first place.

My view on microtonality

I don't hate 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned.

My pet peeve with 12EDO is that while it is the lowest EDO which can reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as a tad crude. Yes, it's a god-tier edo, but it's the absolute bare minimum.

EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach xenharmonic, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.

I don't generally do microtonality; that is, directly using very small steps melodically or harmonically. No. I find that yucky. I do xenharmony, however. Easy JI xenharmony. All of 4:5:6 and 10:12:15 and 7:9:11 and 8:10:13 and 10:13:15, plus all the scales.

Interests

Music

My main drive in music is expanding tonality with 13-limit JI: at the very least in the ya or yaza, and at the very most in the 29-limit. My favorite subgroup is the yazalatha, with possible 19 added into the mix. See Harmonic tiers for my analysis of primes.

My favorite edo for most purposes is 94edo. I don't use it to its entirety, but rather only for its cassandra yazalatha(na). It's so good, so easy to work with, and very decent. Worse ya, but I can swallow it.

The biggest EDOs I compose in is 270edo, since it offers an unbeatably good yazalathana. I will not use EDOs any higher than 270edo because it's already a god-tier EDO, any higher and the step size is way too narrow to be faithfully percieved. See EDO impressions for more info.

My fav scales are Pyth-like 5L 7s and subsets, Zarlino, Duodene, 8afdo, and Ngwoóghe [ŋwǒːɣe] or Góqäi [ˈgɤqæi]

! harbipenchord13.scl
!
24:26:28:30:32:36:39:42:45:48 made into a scale, "Ngwoóghe", "Góqäi"
9
!
13/12
7/6
5/4
4/3
3/2
13/8
7/4
15/8
2/1

And the Carlos harmonic scale. My approach to these JI scales with 94edo or 270edo, or fudging when unavailable.

Theory

Fan of color notation and sagittal. Interested in naming stuff and knowing what we're talking about with some semblance of certainty. In terms of compositional theory, I believe that the best approach to music is to follow the harmonic series as closely as possible, using low complexity otonality, harmonic segments melodically, and 13-limit expanded tonality, with very sparse and irregular additions of primes 19 and possibly 17.

I don't care about essential tempering, VAOs, MOSes beyond the theoretical, or structural exploiting of edos and their symmetries barring easier navigation. JI is the journey, and temperaments are my boat.

I do not believe that the harmonic series and the subharmonic series are mirror versions of each other. They are only in pitch space, but in any real musical context, their functions are vastly different. Harmonics play inside harmony, subharmonics define harmony. Since subharmonics define harmony, concatenating many subharmonics leads to a chord with pieces that don't fit. Bad. Melodically, subharmonics are incredibly potent, but for different reasons than harmonics.

Ultimately I care more about praxis than about theory, my theory of theory being that it should be as descriptive, simple and intuitive as possible or be ultimately derived from praxis entirely, and all the thinking power should go to the actual music making. Theories are still important because the mental framework with which one makes music can, and does change, and learning about new ways to look at the same concepts is an important skill as an artist, I'd say.

I stopped doing tuning theory, essentially settling for one temperament, which allows me to meet all my goals and expand tonality exactly the way I want. By having a dead-accurate 13-limit. This system dances at the bleeding edge of JI, edos, temperaments and practicality, but I won't spoil you the fun. Have a read. Join me in my quest.

Worldbuilding

I have a hobbyist worldbuilding project on a distant world called Iekyaa, with a heavy dose of speculative evolution, althistory, linguistics, conlanging, OCs, speculative metaphysics, and magic. Overall a weird mix of Avatar the Last Airbender and My Hero Academia, with some heavy specevo and worldbuilding, among other references I may not speak of here.

I have also developed a general music notation for this world but I have yet to upload it.

Proceed with caution. (may contain NSFW)

Articles

Temperaments

• Ultimate (otherwise known as cassaschismic) It'd be funny if it was always spelt big.
• Important Tables (data dump)
• Fifth scale tree (proposal)
• Mappings of edos

Notation and speaking

• Enumeration (also edited by Kite Giedraitis, deprecated article, see EFR)
• Holopyth and Hemipyth (systematic nomenclature for all of Hemipyth)
• Proposal to the Functional Just System (old stuff)
• PLIN (deprecated semantics blabbering)

Miscellaneous:

• EDO impressions (obligatory opinionmaxxing, subject to change)
• How to build edos in DAWs (applicable in Logic)
• Punctional Just System (joke)
• Moture's Extended Functional Just System (bad translation of someone's article)

The list will be expanded further as more articles are published.