Collection of EDO impressions: Difference between revisions

Line 243:

== [[24edo]] ==

: '''Aura''': This EDO served as my first personal foray into the world of microtonality. It is also from here that I learned what I have about the 11-limit.

: '''ArrowHead''': Easy to get into as a microtonal tuning, since it's meantone and preserves all the familiar intervals of 12edo. Has great approximation of 11/8 and passable approximation of 13/8, along with good (or at least passable) approximations to all of their no-sevens 15-odd-limit ratios. The ability to construct chords with the 11th and 13th harmonics and to be able to use them as consonances is a huge bonus. Also supports semaphore with alternating whole steps and quarter tones, allowing for tons of new progressions and modulatory possibilities. Unfortunately it's far from the ''best'' tuning to get into for introducing microtonality, since it doesn't do 7 well at all, though, and I've found that most Westerners consider the sound of 11/8 and 13/8 to be much weirder compared to 7/4.

: '''Bozu''': This is where almost everyone outside of the xenharmonic community sends their minds when you mention "microtonal music." It's used in traditional maqam music. I've personally used it myself a bit, but, in my opinion, what gets added to 12edo is fairly limited. It opens up a couple of new worlds of a few consonant intervals that play really well with familiar ones, and also some really skunky dissonant ones that drive the neighbours crazy. But it's definitely not what I recommend for beginning a journey into alternative tuning.

: '''Aura''': This EDO served as my first personal foray into the world of microtonality. It is also from here that I learned what I have about the 11-limit.

: '''Bozu''': This is where almost everyone outside of the xenharmonic community sends their minds when you mention "microtonal music." It's used in traditional maqam music. I've personally used it myself a bit, but, in my opinion, what gets added to 12edo is fairly limited. It opens up a couple of new worlds of a few consonant intervals that play really well with familiar ones, and also some really skunky dissonant ones that drive the neighbours crazy. But it's definitely not what I recommend for beginning a journey into alternative tuning.

: '''Nicolai''': 12EDO, but fancy.

: '''Inthar''': Neutral-thirds edo with a 12edo subset. Harmonically better semaphore than 19edo imo.

: '''Keenan''': Very worthwhile, and underrated because of its long history of "microtonal" (rather than "xenharmonic") use. Really nails the 2.3.11 subgroup, and has all the familiar meantone harmony (and diatonic scale) of 12edo. The basis of much low-level maqam music theory (maqamat are often presented as quarter tones).

: '''Mike''': allows you to take a sound you all intuitively know (the blues) and make it "real" and "tangible" and manipulate it to see what comes of it

: '''Mike''': allows you to take a sound you all intuitively know (the blues) and make it "real" and "tangible" and manipulate it to see what comes of it.

: '''Yourmusic Productions''': Double the complexity, but considerably less than double the number of good-sounding combinations. A lot of extra work for little extra return.

: '''Carmen14edo/Bragtime''': Many people in the microtonal community write it off due to the notoriousness of "quarter tone music", but I'm particularly attracted to the new 12edo-polyphony key changes possible in this tuning.

: '''Deja Igliashon:''' it is an absolute crime that Western academic composers got into 24edo during the period when atonality was in vogue, and approached it with no care or consideration for the wealth of concordant harmonic possibilities it presents. It is ~~really just~~ awesome at no-7s 19-limit JI, like just try 0-200-400-550-700-850-1100-1300-1500¢, and tell me it's not doing just as good at approximating 8:9:10:11:12:13:15:17:19, as any other EDOs of similar size or smaller are doing at whatever harmonic series approximations they're known for. 24edo just gives you all kinds of fun ways to tack the 11th and 13th harmonics onto ~~boring ol' 12edo~~ harmonies, and it really deserves to be recognized for that, not for ~~its tradition of dreadful~~ atonal discordance.

: '''Deja Igliashon:''' it is an absolute crime that Western academic composers got into 24edo during the period when atonality was in vogue, and approached it with no care or consideration for the wealth of concordant harmonic possibilities it presents. It is absolutely awesome in no-7s 19-limit JI, like just try 0-200-400-550-700-850-1100-1300-1500¢, and tell me it's not doing just as good at approximating 8:9:10:11:12:13:15:17:19, as any other EDOs of similar size or smaller are doing at whatever harmonic series approximations they're known for. 24edo just gives you all kinds of fun ways to tack the 11th and 13th harmonics onto regular 12-tone harmonies, and it really deserves to be recognized for that, not for atonal discordance.

== [[25edo]] ==

@@ Line 243: / Line 243: @@
 == [[24edo]] ==
-: '''Aura''': This EDO served as my first personal foray into the world of microtonality.  It is also from here that I learned what I have about the 11-limit.
+: '''ArrowHead''': Easy to get into as a microtonal tuning, since it's meantone and preserves all the familiar intervals of 12edo. Has great approximation of 11/8 and passable approximation of 13/8, along with good (or at least passable) approximations to all of their no-sevens 15-odd-limit ratios. The ability to construct chords with the 11th and 13th harmonics and to be able to use them as consonances is a huge bonus. Also supports semaphore with alternating whole steps and quarter tones, allowing for tons of new progressions and modulatory possibilities. Unfortunately it's far from the ''best'' tuning to get into for introducing microtonality, since it doesn't do 7 well at all, though, and I've found that most Westerners consider the sound of 11/8 and 13/8 to be much weirder compared to 7/4.
-: '''Bozu''': This is where almost everyone outside of the xenharmonic community sends their minds when you mention "microtonal music."  It's used in traditional maqam music.  I've personally used it myself a bit, but, in my opinion, what gets added to 12edo is fairly limited.  It opens up a couple of new worlds of a few consonant intervals that play really well with familiar ones, and also some really skunky dissonant ones that drive the neighbours crazy.  But it's definitely not what I recommend for beginning a journey into alternative tuning.
+: '''Aura''': This EDO served as my first personal foray into the world of microtonality. It is also from here that I learned what I have about the 11-limit.
+: '''Bozu''': This is where almost everyone outside of the xenharmonic community sends their minds when you mention "microtonal music." It's used in traditional maqam music. I've personally used it myself a bit, but, in my opinion, what gets added to 12edo is fairly limited. It opens up a couple of new worlds of a few consonant intervals that play really well with familiar ones, and also some really skunky dissonant ones that drive the neighbours crazy. But it's definitely not what I recommend for beginning a journey into alternative tuning.
 : '''Nicolai''': 12EDO, but fancy.
 : '''Inthar''': Neutral-thirds edo with a 12edo subset. Harmonically better semaphore than 19edo imo.
 : '''Keenan''': Very worthwhile, and underrated because of its long history of "microtonal" (rather than "xenharmonic") use. Really nails the 2.3.11 subgroup, and has all the familiar meantone harmony (and diatonic scale) of 12edo. The basis of much low-level maqam music theory (maqamat are often presented as quarter tones).
-: '''Mike''': allows you to take a sound you all intuitively know (the blues) and make it "real" and "tangible" and manipulate it to see what comes of it
+: '''Mike''': allows you to take a sound you all intuitively know (the blues) and make it "real" and "tangible" and manipulate it to see what comes of it.
 : '''Yourmusic Productions''': Double the complexity, but considerably less than double the number of good-sounding combinations. A lot of extra work for little extra return.
 : '''Carmen14edo/Bragtime''': Many people in the microtonal community write it off due to the notoriousness of "quarter tone music", but I'm particularly attracted to the new 12edo-polyphony key changes possible in this tuning.
-: '''Deja Igliashon:''' it is an absolute crime that Western academic composers got into 24edo during the period when atonality was in vogue, and approached it with no care or consideration for the wealth of concordant harmonic possibilities it presents. It is really just awesome at no-7s 19-limit JI, like just try 0-200-400-550-700-850-1100-1300-1500¢, and tell me it's not doing just as good at approximating 8:9:10:11:12:13:15:17:19, as  any other EDOs of similar size or smaller are doing at whatever harmonic series approximations they're known for. 24edo just gives you all kinds of fun ways to tack the 11th and 13th harmonics onto boring ol' 12edo harmonies, and it really deserves to be recognized for that, not for its tradition of dreadful atonal discordance.
+: '''Deja Igliashon:''' it is an absolute crime that Western academic composers got into 24edo during the period when atonality was in vogue, and approached it with no care or consideration for the wealth of concordant harmonic possibilities it presents. It is absolutely awesome in no-7s 19-limit JI, like just try 0-200-400-550-700-850-1100-1300-1500¢, and tell me it's not doing just as good at approximating 8:9:10:11:12:13:15:17:19, as  any other EDOs of similar size or smaller are doing at whatever harmonic series approximations they're known for. 24edo just gives you all kinds of fun ways to tack the 11th and 13th harmonics onto regular 12-tone harmonies, and it really deserves to be recognized for that, not for atonal discordance.
 == [[25edo]] ==