Collection of EDO impressions: Difference between revisions

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== [[12edo]] ==

: '''ArrowHead''': It's the smallest one that does 5-limit well, which is precisely why it's the most popular around the world today. Admittedly, it's by far the easiest tuning to get into, and is the best tuning to get started with in music. ~~Though~~, I ~~still~~ feel that other meantone tunings should be mentioned and touched upon to a decent degree after Western musicians get familiar with 12 so that they don't think 12 is somehow the be-all/end-all of tuning.

: '''ArrowHead''': It's the smallest one that does 5-limit well, which is precisely why it's the most popular around the world today. Admittedly, it's by far the easiest tuning to get into, and is the best tuning to get started with in music. Has the largest possible contrast between major and minor for a meantone tuning, and the wide major thirds and narrow minor thirds are best for some areas of Western music but far from optimal for others. I also feel that other meantone tunings should be mentioned and touched upon to a decent degree after Western musicians get familiar with 12 so that they don't think 12 is somehow the be-all/end-all of tuning and are encouraged to explore other tunings.

: '''Aura''': Finally! The EDO I have the most extensive experience with. All my direct, first-hand experience with 1edo, 2edo, 3edo, 4edo and 6edo prior to me finishing this page came about because I have access to a 12edo instrument- my grandmother's piano. It is also from here that I've taken the bulk of my ideas on ~~tonality- including~~ my idea for Treble-Down tonality. I still use this EDO as a basis for forming harmonic and melodic ideas.

: '''Aura''': Finally! The EDO I have the most extensive experience with. All my direct, first-hand experience with 1edo, 2edo, 3edo, 4edo and 6edo prior to me finishing this page came about because I have access to a 12edo instrument- my grandmother's piano. It is also from here that I've taken the bulk of my ideas on tonality—including my idea for Treble-Down tonality. I still use this EDO as a basis for forming harmonic and melodic ideas.

: '''Bozu''': Honestly, the best edo. Not too many notes, not too few. What notes are there sound great. It's the lowest composite hypopent, as well as the lowest composite of augmented and diminished. You can use it to affect major, minor, augmented, and diminished tonalities very well. The only place it truly falls short is anything beyond that. It's not too great at approximating higher order harmonics, nor does it offer any neutral intervals. It'd be sort of silly to think of a beginner musician starting with anything other than this or some form of meantone or JI that 12edo approximates.

: '''Nicolai''': I probably shouldn't have listed this.

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== [[31edo]] ==

: '''ArrowHead''': The first non-12edo tuning I knew about, I got interested in it through Baroque and Renaissance music due to it being an excellent representation of quarter-comma meantone. Personally, I think this is the best alternative tuning for most non-classical Western musicians to use. It's especially good for contemporary worship music and songs with largely pentatonic melodies such as Hillsong's ''Highlands''. The number of notes is not overly unwieldy (though it is pushing the limits of practicality on guitars and basses), and the differences between its sound and 12edo's sound are big enough that people will notice (and therefore they might actually care) but not so big that it sounds jarring like 19edo can be (and often is).

: '''ArrowHead''': The first non-12edo tuning I knew about, I got interested in it through Baroque and Renaissance music due to it being an excellent representation of quarter-comma meantone. Personally, I think this is the best alternative tuning for most non-classical Western musicians to use. It's especially good for contemporary worship music since everything sounds more mellow and calm compared to 12, and I also think it's a better tuning for songs with largely pentatonic melodies, such as Hillsong's ''Highlands'', than 12edo is. The number of notes is not overly unwieldy (though it is pushing the limits of practicality on guitars and basses, it's still doable for chords), and the differences between its sound and 12edo's sound are big enough that people will notice (and therefore they might actually care) but not so big that it sounds jarring like 19edo can be (and often is). If we keep A at 440 Hz, keys from A major and F♯ minor onwards among the sharps sound noticeably darker in 31 and more energetic in 12, D and G major and their relative minor keys sound similar, while flat keys sound noticeably brighter in 31 and more "serious" in 12.

: '''Aura''': Working with Superlocrian in this EDO is again interesting, but it's easier to do with this EDO than with 27edo.

: '''Bozu''': This is sort of the gold standard of meantone tuning. Composite hypopent. Great thirds and fifths and everything else used to make western-esque music, and also some really nifty other spicier options. Very user-friendly. If you start with 12edo and go to 19edo and like it, this would be the obvious next recommendation. My only complaint here is that we are starting to get into the territory of having too many notes to easily perform on a guitar or standard black-and-white-key two row keyboard. Going with subsets at this point is beneficial, but those provide new challenges.

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== [[33edo]] ==

: '''ArrowHead''': Good representation of ½-comma meantone, a very flat meantone tuning where the whole tone is exclusively 10/9. Sounds really strange since there's so little contrast between major and minor and because the fifth is the absolute flattest that it can get before it starts to sound out of tune.

: '''Bozu''': Composite hypopent. Augmented. Same impression as 32edo, except maybe even less valuable.

: '''Nicolai''': 11EDO, but with a better fifth.

@@ Line 117: / Line 117: @@
 == [[12edo]] ==
-: '''ArrowHead''': It's the smallest one that does 5-limit well, which is precisely why it's the most popular around the world today. Admittedly, it's by far the easiest tuning to get into, and is the best tuning to get started with in music. Though, I still feel that other meantone tunings should be mentioned and touched upon to a decent degree after Western musicians get familiar with 12 so that they don't think 12 is somehow the be-all/end-all of tuning.
+: '''ArrowHead''': It's the smallest one that does 5-limit well, which is precisely why it's the most popular around the world today. Admittedly, it's by far the easiest tuning to get into, and is the best tuning to get started with in music. Has the largest possible contrast between major and minor for a meantone tuning, and the wide major thirds and narrow minor thirds are best for some areas of Western music but far from optimal for others. I also feel that other meantone tunings should be mentioned and touched upon to a decent degree after Western musicians get familiar with 12 so that they don't think 12 is somehow the be-all/end-all of tuning and are encouraged to explore other tunings.
-: '''Aura''': Finally! The EDO I have the most extensive experience with. All my direct, first-hand experience with 1edo, 2edo, 3edo, 4edo and 6edo prior to me finishing this page came about because I have access to a 12edo instrument- my grandmother's piano. It is also from here that I've taken the bulk of my ideas on tonality- including my idea for Treble-Down tonality. I still use this EDO as a basis for forming harmonic and melodic ideas.
+: '''Aura''': Finally! The EDO I have the most extensive experience with. All my direct, first-hand experience with 1edo, 2edo, 3edo, 4edo and 6edo prior to me finishing this page came about because I have access to a 12edo instrument- my grandmother's piano. It is also from here that I've taken the bulk of my ideas on tonality—including my idea for Treble-Down tonality. I still use this EDO as a basis for forming harmonic and melodic ideas.
 : '''Bozu''': Honestly, the best edo. Not too many notes, not too few. What notes are there sound great. It's the lowest composite hypopent, as well as the lowest composite of augmented and diminished. You can use it to affect major, minor, augmented, and diminished tonalities very well. The only place it truly falls short is anything beyond that. It's not too great at approximating higher order harmonics, nor does it offer any neutral intervals. It'd be sort of silly to think of a beginner musician starting with anything other than this or some form of meantone or JI that 12edo approximates.
 : '''Nicolai''': I probably shouldn't have listed this.
@@ Line 300: / Line 300: @@
 == [[31edo]] ==
-: '''ArrowHead''': The first non-12edo tuning I knew about, I got interested in it through Baroque and Renaissance music due to it being an excellent representation of quarter-comma meantone. Personally, I think this is the best alternative tuning for most non-classical Western musicians to use. It's especially good for contemporary worship music and songs with largely pentatonic melodies such as Hillsong's ''Highlands''. The number of notes is not overly unwieldy (though it is pushing the limits of practicality on guitars and basses), and the differences between its sound and 12edo's sound are big enough that people will notice (and therefore they might actually care) but not so big that it sounds jarring like 19edo can be (and often is).
+: '''ArrowHead''': The first non-12edo tuning I knew about, I got interested in it through Baroque and Renaissance music due to it being an excellent representation of quarter-comma meantone. Personally, I think this is the best alternative tuning for most non-classical Western musicians to use. It's especially good for contemporary worship music since everything sounds more mellow and calm compared to 12, and I also think it's a better tuning for songs with largely pentatonic melodies, such as Hillsong's ''Highlands'', than 12edo is. The number of notes is not overly unwieldy (though it is pushing the limits of practicality on guitars and basses, it's still doable for chords), and the differences between its sound and 12edo's sound are big enough that people will notice (and therefore they might actually care) but not so big that it sounds jarring like 19edo can be (and often is). If we keep A at 440 Hz, keys from A major and F♯ minor onwards among the sharps sound noticeably darker in 31 and more energetic in 12, D and G major and their relative minor keys sound similar, while flat keys sound noticeably brighter in 31 and more "serious" in 12.
 : '''Aura''': Working with Superlocrian in this EDO is again interesting, but it's easier to do with this EDO than with 27edo.
 : '''Bozu''': This is sort of the gold standard of meantone tuning. Composite hypopent. Great thirds and fifths and everything else used to make western-esque music, and also some really nifty other spicier options. Very user-friendly. If you start with 12edo and go to 19edo and like it, this would be the obvious next recommendation. My only complaint here is that we are starting to get into the territory of having too many notes to easily perform on a guitar or standard black-and-white-key two row keyboard. Going with subsets at this point is beneficial, but those provide new challenges.
@@ Line 313: / Line 313: @@
 == [[33edo]] ==
+: '''ArrowHead''': Good representation of ½-comma meantone, a very flat meantone tuning where the whole tone is exclusively 10/9. Sounds really strange since there's so little contrast between major and minor and because the fifth is the absolute flattest that it can get before it starts to sound out of tune.
 : '''Bozu''': Composite hypopent. Augmented. Same impression as 32edo, except maybe even less valuable.
 : '''Nicolai''': 11EDO, but with a better fifth.