Collection of EDO impressions: Difference between revisions

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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 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.

: '''ArrowHead''': The second alternative tuning I knew about after 24edo, 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. Since everything sounds more mellow and calm compared to 12, I think that many, if not most, contemporary worship songs would sound better in 31 compared to 12. I also think it's a better tuning for songs with largely pentatonic melodies, such as Hillsong's ''Highlands'', than 12edo is, since the pentatonic scale is noticeably tighter. 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). It also allows many interesting symmetry breaks and comma pumps over 12 that to me are an extremely interesting effect. If A is still 440 Hz, to me, 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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 == [[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 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.
+: '''ArrowHead''': The second alternative tuning I knew about after 24edo, 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. Since everything sounds more mellow and calm compared to 12, I think that many, if not most, contemporary worship songs would sound better in 31 compared to 12. I also think it's a better tuning for songs with largely pentatonic melodies, such as Hillsong's ''Highlands'', than 12edo is, since the pentatonic scale is noticeably tighter. 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). It also allows many interesting symmetry breaks and comma pumps over 12 that to me are an extremely interesting effect. If A is still 440 Hz, to me, 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.