User:KingHyperio/EDO impressions: Difference between revisions

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[[4edo]] - diminished seven chord great

[[5edo]] - Actually interesting, simple and can be used as a rough approximation of Slendro. Better used or approximated as a subset of a larger ~~EDO~~ though.

[[5edo]] - Actually interesting, simple and can be used as a rough approximation of Slendro. Probably the only decent EDO where you can play any combination of notes with little dissonance. Better used or approximated as a subset of a larger system though.

[[6edo]] - Great 2.9.5.7.11 system in isolation, really lame if you're just used to 12 though.

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[[12edo]] - I mean what can I say, it's as popular as it is for a reason. As much as microtonalists act like they dislike 12 because they all have their own systems they prefer, 12 is amazing. Great fifth that's hardly improved on until 41, solid 5th harmonic, and a minor seventh that works enough like a harmonic seventh to find extensive use in blues and rock music over the 5/4. I won't even scratch the surface of why it's so good, but it's really the smallest EDO that can survive and thrive as well as it has.

[[13edo]] - For how weak it is in some aspects, it has some nice scales, like Oneirotonic and Archeotonic, the first of which is a warped diatonic that requires a completely new approach to harmony, and the second of which hits some solid intervals in its principle mode, ~~notable~~ ones being 5/4 and 11/8, before capping off with a small semitone into the octave.

[[13edo]] - For how weak it is in some aspects, it has some nice scales, like Oneirotonic and Archeotonic, the first of which is a warped diatonic that requires a completely new approach to harmony, and the second of which hits some solid intervals in its principle mode, notably ones being 5/4 and 11/8, before capping off with a small semitone into the octave.

[[14edo]] - I love 14. Sevish describes it best as the "tuning that should not work", which I'd have to agree with. It doesn't really approximate harmonics at all, which would make it bad as a new standard, but if you just play around with it, it has some amazing sounds. Its thirds are excellent, including only those most alien to a 12edo listener, while providing the tools for some great harmony. It has a usable fifth, with just enough sixths and sevenths to expand well on the thirds. It's extremely user friendly with at least a bit of basic knowledge, held together by the 7edo at its core, and offering alternatives to this neutral scale with a primitive Barbados[9] and Squares[8], both favorites of mine.

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[[16edo]] - I've tried writing Lofi in 16, and while I'm no great composer, I think 16 really is a great system for that. It has "detuned" thirds and fifth that in my opinion very much fit that atmosphere, with usable harmonic seventh chords, and the same beautiful valentine melodies of 15, just with an even better semitone and smaller neutral second and whole tone. One issue is that Mavila, the standard scale associated with 16, with neutral seconds and large whole tones as steps, doesn't include any harmonic seventh chords, and it's necessary to use either a MODMOS analogous to harmonic or melodic minor to include just one. Diminished includes 4, with large whole tones and small semitones, so it exists as a possible option. Either way I think it deserves more attention, especially for its melodic properties.

[[17edo]] - In my opinion 17 is the best melodic EDO out there. Its ~~mosstep~~ is the best possible for direction imo, and it has a neutral second and slightly wide whole tone that both work well for melodies. Where it shines is its scale selection, with Neutral[7], Superpyth[7], Squares[8], Machine[6], and Bleu[9] all making great use of these steps. Speaking of Neutral and Superpyth, it feels like the first real one of either, and it supports neutral scales such as Rast and Bayati with some degree of accuracy. Its harmony is good, made up mainly of 6:7:8:9, 9/8/7/6, 6:7:9:11, and S7 and s7 chords, which gives a good degree of versatility. There also exist great well temperaments for it, unlike many larger systems, which can pack a hell of a lot of harmonic content into a small package, while keeping its great melodic properties. If we as a culture had to fully switch over to a 17-WT, I wouldn't be opposed at all.

[[17edo]] - In my opinion 17 is the best melodic EDO out there. Its edostep is the best possible for direction imo, and it has a neutral second and slightly wide whole tone that both work well for melodies. Where it shines is its scale selection, with Neutral[7], Superpyth[7], Squares[8], Machine[6], and Bleu[9] all making great use of these steps. Speaking of Neutral and Superpyth, it feels like the first real one of either, and it supports neutral scales such as Rast and Bayati with some degree of accuracy. Its harmony is good, made up mainly of 6:7:8:9, 9/8/7/6, 6:7:9:11, and S7 and s7 chords, which gives a good degree of versatility. There also exist great well temperaments for it, unlike many larger systems, which can pack a hell of a lot of harmonic content into a small package, while keeping its great melodic properties. If we as a culture had to fully switch over to a 17-WT, I wouldn't be opposed at all.

[[18edo]] - maybe i just haven't found any good music or theory for it yet but ~~i don't like it~~

[[18edo]] - maybe i just haven't found any good music or theory for it yet but not a fan

[[19edo]] - It's the new best meantone, with solid 7-limit harmony that's represented in Godzilla, with Godzilla[9] being a great scale to use, and with Magic, Keemun, and Negri all being great temperaments that add variety to what's usually thought of as just a better meantone. It's user friendly for anybody used to 12, and can be a great place to start experimenting with microtonality, as well as including a lot of interesting content.

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[[21edo]] - 7edo subset and oneirotonic, very little else

[[22edo]] - It's as good as you've heard, ~~it's~~ the first really truly 11-limit EDO, with solid harmonic seventh chords, an accurate superpyth, and enough notes to vaguely approximate shrutis. Its main strength in my opinion is how efficiently it represents 4:5:6:7:9:11 subset chords in its MOSes, with a 4:5:6:9:11 in Porcupine[7], 2 4:5:6:7:9s in Pajara[10], 4 4:6:7:9:11s in Superpyth[12], and many more subsets in scales of Antikythera, Machine, Orwell, and Magic. It can be fairly weak melodically, and it has no hemififth or hemifourth, but its harmonic strengths are definitely there, making it sort of the mathematician's tuning system.

[[22edo]] - It's as good as you've heard, as the first really truly 11-limit EDO, with solid harmonic seventh chords, an accurate superpyth, and enough notes to vaguely approximate shrutis. Its main strength in my opinion is how efficiently it represents 4:5:6:7:9:11 subset chords in its MOSes, with a 4:5:6:9:11 in Porcupine[7], 2 4:5:6:7:9s in Pajara[10], 4 4:6:7:9:11s in Superpyth[12], and many more subsets in scales of Antikythera, Machine, Orwell, and Magic. It can be fairly weak melodically, and it has no hemififth or hemifourth, but its harmonic strengths are definitely there, making it sort of the mathematician's tuning system.

[[23edo]] - highest edo to have no diatonic, 5edo subset, or 7edo subset, so it really has no good fifth, with a worse mavila than 16

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[[41edo]] - Approximates scales from all over the [[41edo#41edo_as_a_Universal_Tuning|world]] extremely well, due to its fifth than can be divided into two parts to generate neutral scales and approximate Arabic Maqamat, into three parts to generate a decent Slendro, or into four parts to approximate classical Thai music, as well as a Mavila for Pelog. It also has an extremely accurate fifth for Pythagorean pentatonic scales and limmas, which are very useful for some Asian cultures, and a great 5-limit near JI for Western and Carnatic music, the latter of which also has Magic[22] as an option, and the former of which has a 5/4 just flat enough to double as a third for Turkish Rast, and provide footing for a solid approximation of Turkish Makam. Beyond this use, its temperaments aren't anything to write home about, and its size is very unwieldy.

[[58edo]] - First to be consistent to 17 and distinct to 11, with decent tuning all the way through. Also has thirds of every reasonably common type.

[[72edo]] - Excellent 11-limit and consistent to 17, really the furthest I could ever justify going, but I wouldn't bother.

[[171edo]] - 7-limit “JI” with a neutral skeleton.

[[Category:Impression]]

@@ Line 11: / Line 11: @@
 [[4edo]] - diminished seven chord great
-[[5edo]] - Actually interesting, simple and can be used as a rough approximation of Slendro. Better used or approximated as a subset of a larger EDO though.
+[[5edo]] - Actually interesting, simple and can be used as a rough approximation of Slendro. Probably the only decent EDO where you can play any combination of notes with little dissonance. Better used or approximated as a subset of a larger system though.
 [[6edo]] - Great 2.9.5.7.11 system in isolation, really lame if you're just used to 12 though.
@@ Line 27: / Line 27: @@
 [[12edo]] - I mean what can I say, it's as popular as it is for a reason. As much as microtonalists act like they dislike 12 because they all have their own systems they prefer, 12 is amazing. Great fifth that's hardly improved on until 41, solid 5th harmonic, and a minor seventh that works enough like a harmonic seventh to find extensive use in blues and rock music over the 5/4. I won't even scratch the surface of why it's so good, but it's really the smallest EDO that can survive and thrive as well as it has.
-[[13edo]] - For how weak it is in some aspects, it has some nice scales, like Oneirotonic and Archeotonic, the first of which is a warped diatonic that requires a completely new approach to harmony, and the second of which hits some solid intervals in its principle mode, notable ones being 5/4 and 11/8, before capping off with a small semitone into the octave.
+[[13edo]] - For how weak it is in some aspects, it has some nice scales, like Oneirotonic and Archeotonic, the first of which is a warped diatonic that requires a completely new approach to harmony, and the second of which hits some solid intervals in its principle mode, notably ones being 5/4 and 11/8, before capping off with a small semitone into the octave.
 [[14edo]] - I love 14. Sevish describes it best as the "tuning that should not work", which I'd have to agree with. It doesn't really approximate harmonics at all, which would make it bad as a new standard, but if you just play around with it, it has some amazing sounds. Its thirds are excellent, including only those most alien to a 12edo listener, while providing the tools for some great harmony. It has a usable fifth, with just enough sixths and sevenths to expand well on the thirds. It's extremely user friendly with at least a bit of basic knowledge, held together by the 7edo at its core, and offering alternatives to this neutral scale with a primitive Barbados[9] and Squares[8], both favorites of mine.
@@ Line 35: / Line 35: @@
 [[16edo]] - I've tried writing Lofi in 16, and while I'm no great composer, I think 16 really is a great system for that. It has "detuned" thirds and fifth that in my opinion very much fit that atmosphere, with usable harmonic seventh chords, and the same beautiful valentine melodies of 15, just with an even better semitone and smaller neutral second and whole tone. One issue is that Mavila, the standard scale associated with 16, with neutral seconds and large whole tones as steps, doesn't include any harmonic seventh chords, and it's necessary to use either a MODMOS analogous to harmonic or melodic minor to include just one. Diminished includes 4, with large whole tones and small semitones, so it exists as a possible option. Either way I think it deserves more attention, especially for its melodic properties.
-[[17edo]] - In my opinion 17 is the best melodic EDO out there. Its mosstep is the best possible for direction imo, and it has a neutral second and slightly wide whole tone that both work well for melodies. Where it shines is its scale selection, with Neutral[7], Superpyth[7], Squares[8], Machine[6], and Bleu[9] all making great use of these steps. Speaking of Neutral and Superpyth, it feels like the first real one of either, and it supports neutral scales such as Rast and Bayati with some degree of accuracy. Its harmony is good, made up mainly of 6:7:8:9, 9/8/7/6, 6:7:9:11, and S7 and s7 chords, which gives a good degree of versatility. There also exist great well temperaments for it, unlike many larger systems, which can pack a hell of a lot of harmonic content into a small package, while keeping its great melodic properties. If we as a culture had to fully switch over to a 17-WT, I wouldn't be opposed at all.
+[[17edo]] - In my opinion 17 is the best melodic EDO out there. Its edostep is the best possible for direction imo, and it has a neutral second and slightly wide whole tone that both work well for melodies. Where it shines is its scale selection, with Neutral[7], Superpyth[7], Squares[8], Machine[6], and Bleu[9] all making great use of these steps. Speaking of Neutral and Superpyth, it feels like the first real one of either, and it supports neutral scales such as Rast and Bayati with some degree of accuracy. Its harmony is good, made up mainly of 6:7:8:9, 9/8/7/6, 6:7:9:11, and S7 and s7 chords, which gives a good degree of versatility. There also exist great well temperaments for it, unlike many larger systems, which can pack a hell of a lot of harmonic content into a small package, while keeping its great melodic properties. If we as a culture had to fully switch over to a 17-WT, I wouldn't be opposed at all.
-[[18edo]] - maybe i just haven't found any good music or theory for it yet but i don't like it
+[[18edo]] - maybe i just haven't found any good music or theory for it yet but not a fan
 [[19edo]] - It's the new best meantone, with solid 7-limit harmony that's represented in Godzilla, with Godzilla[9] being a great scale to use, and with Magic, Keemun, and Negri all being great temperaments that add variety to what's usually thought of as just a better meantone. It's user friendly for anybody used to 12, and can be a great place to start experimenting with microtonality, as well as including a lot of interesting content.
@@ Line 45: / Line 45: @@
 [[21edo]] - 7edo subset and oneirotonic, very little else
-[[22edo]] - It's as good as you've heard, it's the first really truly 11-limit EDO, with solid harmonic seventh chords, an accurate superpyth, and enough notes to vaguely approximate shrutis. Its main strength in my opinion is how efficiently it represents 4:5:6:7:9:11 subset chords in its MOSes, with a 4:5:6:9:11 in Porcupine[7], 2 4:5:6:7:9s in Pajara[10], 4 4:6:7:9:11s in Superpyth[12], and many more subsets in scales of Antikythera, Machine, Orwell, and Magic. It can be fairly weak melodically, and it has no hemififth or hemifourth, but its harmonic strengths are definitely there, making it sort of the mathematician's tuning system.
+[[22edo]] - It's as good as you've heard, as the first really truly 11-limit EDO, with solid harmonic seventh chords, an accurate superpyth, and enough notes to vaguely approximate shrutis. Its main strength in my opinion is how efficiently it represents 4:5:6:7:9:11 subset chords in its MOSes, with a 4:5:6:9:11 in Porcupine[7], 2 4:5:6:7:9s in Pajara[10], 4 4:6:7:9:11s in Superpyth[12], and many more subsets in scales of Antikythera, Machine, Orwell, and Magic. It can be fairly weak melodically, and it has no hemififth or hemifourth, but its harmonic strengths are definitely there, making it sort of the mathematician's tuning system.
 [[23edo]] - highest edo to have no diatonic, 5edo subset, or 7edo subset, so it really has no good fifth, with a worse mavila than 16
@@ Line 64: / Line 64: @@
 [[41edo]] - Approximates scales from all over the [[41edo#41edo_as_a_Universal_Tuning|world]] extremely well, due to its fifth than can be divided into two parts to generate neutral scales and approximate Arabic Maqamat, into three parts to generate a decent Slendro, or into four parts to approximate classical Thai music, as well as a Mavila for Pelog. It also has an extremely accurate fifth for Pythagorean pentatonic scales and limmas, which are very useful for some Asian cultures, and a great 5-limit near JI for Western and Carnatic music, the latter of which also has Magic[22] as an option, and the former of which has a 5/4 just flat enough to double as a third for Turkish Rast, and provide footing for a solid approximation of Turkish Makam. Beyond this use, its temperaments aren't anything to write home about, and its size is very unwieldy.
+[[58edo]] - First to be consistent to 17 and distinct to 11, with decent tuning all the way through. Also has thirds of every reasonably common type.
 [[72edo]] - Excellent 11-limit and consistent to 17, really the furthest I could ever justify going, but I wouldn't bother.
+[[171edo]] - 7-limit “JI” with a neutral skeleton.
 [[Category:Impression]]