User:KingHyperio/EDO impressions: Difference between revisions

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[[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.

[[15edo]] - Kind of a first 11-limit. It has approximations of all primes to 11, and can use them fairly well, with Blackwood and Porcupine[7] being the classic favorite scales. However, its awful 9th harmonic is notable, making its 9/7 inconsistent. This being said, it falls into the sweet spot of melodic EDOs from 14-17, with beautiful valentine melodies that switch between three very nice ~~second~~, those being the small semitone, neutral second, and large whole tone. A better selection of step sizes is hard to find.

[[15edo]] - Kind of a first 11-limit. It has approximations of all primes to 11, and can use them fairly well, with Blackwood and Porcupine[7] being the classic favorite scales. However, its awful 9th harmonic is notable, making its 9/7 inconsistent. This being said, it falls into the sweet spot of melodic EDOs from 14-17, with beautiful valentine melodies that switch between three very nice seconds, those being the small semitone, neutral second, and large whole tone. A better selection of step sizes is hard to find.

[[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 ~~analagous~~ 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.

[[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.

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 [[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.
-[[15edo]] - Kind of a first 11-limit. It has approximations of all primes to 11, and can use them fairly well, with Blackwood and Porcupine[7] being the classic favorite scales. However, its awful 9th harmonic is notable, making its 9/7 inconsistent. This being said, it falls into the sweet spot of melodic EDOs from 14-17, with beautiful valentine melodies that switch between three very nice second, those being the small semitone, neutral second, and large whole tone. A better selection of step sizes is hard to find.
+[[15edo]] - Kind of a first 11-limit. It has approximations of all primes to 11, and can use them fairly well, with Blackwood and Porcupine[7] being the classic favorite scales. However, its awful 9th harmonic is notable, making its 9/7 inconsistent. This being said, it falls into the sweet spot of melodic EDOs from 14-17, with beautiful valentine melodies that switch between three very nice seconds, those being the small semitone, neutral second, and large whole tone. A better selection of step sizes is hard to find.
-[[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 analagous 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.
+[[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.