User:FloraC/Fumica's edo impressions: Difference between revisions

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== Subsemitone size ==

* 15 – ~~This edo is strange: the~~ error of the fifth is getting quite large for its step size, particularly if you compare it with 10edo. Either this or 10edo can be viewed as the opposite of 14edo.

* 15 – The error of the fifth is getting quite large for its step size, particularly if you compare it with 10edo. Either this or 10edo can be viewed as the opposite of 14edo, so I think of this as the direct competitor of 10edo.

* 16 – ~~Every~~ other step of 32edo. Besides that, it has armodue, basically an extremely flat fifth that doesn't sound like the 3rd harmonic at all. "Fifthness" is useless if it's not for the 3rd harmonic, so I'm afraid I don't consider this approach to have much value.

* 16 – Potentially useful as every other step of 32edo. Besides that, it has armodue, basically an extremely flat fifth that doesn't sound like the 3rd harmonic at all. "Fifthness" is useless if it's not for the 3rd harmonic, so I'm afraid I don't consider this approach to have much value.

* 17 – This edo contains an impressive diatonic scale which is nice for both melody and harmony. Semiquartal harmony, that is using the contrast between 7/4 and 12/7 as the basis of tonality, works exceptionally well in this system.

* 18 – Potentially useful as every other step of 36edo.

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* 20 – 15edo but worse.

* 21 – 14edo but worse.

* 22 – Prolly the least evil solution to porcupine and less so to superpyth. Working with porcupine felt quite alright, except that I ~~was constantly~~ struggling to combat its out-of-tune nature.

* 22 – Prolly the least evil solution to porcupine and less so to superpyth. Working with porcupine has felt quite alright, except that I often find myself struggling to combat its out-of-tune nature.

* 23 – Potentially useful as every other step of 46edo.

* 24 – ~~Kind~~ of a normie's edo, but also the most accessible. Quartertones in my otherwise 12edo works often go unnoticed by the audience. A natural extension to 12edo with a structurally beautiful 2.3.5.11.17.19 subgroup interpretation.

* 24 – This is kind of a normie's edo, but also the most accessible. Quartertones in my otherwise 12edo works often go unnoticed by the audience. A natural extension to 12edo with a structurally beautiful 2.3.5.11.17.19 subgroup interpretation.

* 25 – Potentially useful as every other step of 50edo.

* 26 – Just as 19edo is the point separating meantone and flattone, this is the point separating flattone and a meantone extension that implies an even flatter fifth. Therefore it shares all the advantages of 12edo and 19edo, at least theoretically, that is if not for its poor intonation in the 5-limit.

== Diesis size ==

* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of the harmonic 15, which is way too sharp for my taste. I prefer a flat tuning of 15 or at least no sharper than 12edo's, so as to improve its stability as a consonant major seventh. Other than that 27edo is pretty good.

* 28 – Potentially useful as every other step of 56edo.

* 29 – The first edo that sounds like Pythagorean tuning with distinct chromatic and diatonic semitones. Also a good framework as every other step of 58edo and every third step of 87edo.

* 30 – Potentially useful as every other step of 60edo.

* 31 – This is a great edo, with a tuning profile close to what I consider the optimal tuning of meantone. Too great it's a little unfun to work with.

* 32 – 27edo but worse.

* 33 – 26edo but worse.

* 34 – This is to 17edo what 24edo is to 12edo. While 17edo is often good enough, this offers some more sophisticated solutions such as tetracot. Even the harmonics 7 and 11, commonly cited as poor in this edo, are convincing enough to me, since when I worked with modus I never felt the out-of-tune-ness at all, unlike with porcupine.

* 35 – Potentially useful as every other step of 70edo.

* 36 – The idea of adding third tones to plain 12edo music is interesting. However none of my attempts have been successful as I generally find them to sound forced. I think this edo is more difficult to use than it appears.

* 37 – Potentially useful as every other step of 74edo. Besides that, it has a good 2.5.7.11.13 subgroup interpretation, tho I have no idea how harmony in this subgroup is supposed to work.

* 38 – This is to 19edo what 24edo is to 12edo. On paper it adds decent approximation to harmonics 11, 17, and 19. In practice however, I never had a situation where I felt I needed these additional notes when working with 19edo.

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 == Subsemitone size ==
-* 15 – This edo is strange: the error of the fifth is getting quite large for its step size, particularly if you compare it with 10edo. Either this or 10edo can be viewed as the opposite of 14edo.
+* 15 – The error of the fifth is getting quite large for its step size, particularly if you compare it with 10edo. Either this or 10edo can be viewed as the opposite of 14edo, so I think of this as the direct competitor of 10edo.
-* 16 – Every other step of 32edo. Besides that, it has armodue, basically an extremely flat fifth that doesn't sound like the 3rd harmonic at all. "Fifthness" is useless if it's not for the 3rd harmonic, so I'm afraid I don't consider this approach to have much value.
+* 16 – Potentially useful as every other step of 32edo. Besides that, it has armodue, basically an extremely flat fifth that doesn't sound like the 3rd harmonic at all. "Fifthness" is useless if it's not for the 3rd harmonic, so I'm afraid I don't consider this approach to have much value.
 * 17 – This edo contains an impressive diatonic scale which is nice for both melody and harmony. Semiquartal harmony, that is using the contrast between 7/4 and 12/7 as the basis of tonality, works exceptionally well in this system.
 * 18 – Potentially useful as every other step of 36edo.
@@ Line 25: / Line 25: @@
 * 20 – 15edo but worse.
 * 21 – 14edo but worse.
-* 22 – Prolly the least evil solution to porcupine and less so to superpyth. Working with porcupine felt quite alright, except that I was constantly struggling to combat its out-of-tune nature.
+* 22 – Prolly the least evil solution to porcupine and less so to superpyth. Working with porcupine has felt quite alright, except that I often find myself struggling to combat its out-of-tune nature.
 * 23 – Potentially useful as every other step of 46edo.
-* 24 – Kind of a normie's edo, but also the most accessible. Quartertones in my otherwise 12edo works often go unnoticed by the audience. A natural extension to 12edo with a structurally beautiful 2.3.5.11.17.19 subgroup interpretation.
+* 24 – This is kind of a normie's edo, but also the most accessible. Quartertones in my otherwise 12edo works often go unnoticed by the audience. A natural extension to 12edo with a structurally beautiful 2.3.5.11.17.19 subgroup interpretation.
 * 25 – Potentially useful as every other step of 50edo.
 * 26 – Just as 19edo is the point separating meantone and flattone, this is the point separating flattone and a meantone extension that implies an even flatter fifth. Therefore it shares all the advantages of 12edo and 19edo, at least theoretically, that is if not for its poor intonation in the 5-limit.
+== Diesis size ==
+* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of the harmonic 15, which is way too sharp for my taste. I prefer a flat tuning of 15 or at least no sharper than 12edo's, so as to improve its stability as a consonant major seventh. Other than that 27edo is pretty good.
+* 28 – Potentially useful as every other step of 56edo.
+* 29 – The first edo that sounds like Pythagorean tuning with distinct chromatic and diatonic semitones. Also a good framework as every other step of 58edo and every third step of 87edo.
+* 30 – Potentially useful as every other step of 60edo.
+* 31 – This is a great edo, with a tuning profile close to what I consider the optimal tuning of meantone. Too great it's a little unfun to work with.
+* 32 – 27edo but worse.
+* 33 – 26edo but worse.
+* 34 – This is to 17edo what 24edo is to 12edo. While 17edo is often good enough, this offers some more sophisticated solutions such as tetracot. Even the harmonics 7 and 11, commonly cited as poor in this edo, are convincing enough to me, since when I worked with modus I never felt the out-of-tune-ness at all, unlike with porcupine.
+* 35 – Potentially useful as every other step of 70edo.
+* 36 – The idea of adding third tones to plain 12edo music is interesting. However none of my attempts have been successful as I generally find them to sound forced. I think this edo is more difficult to use than it appears.
+* 37 – Potentially useful as every other step of 74edo. Besides that, it has a good 2.5.7.11.13 subgroup interpretation, tho I have no idea how harmony in this subgroup is supposed to work.
+* 38 – This is to 19edo what 24edo is to 12edo. On paper it adds decent approximation to harmonics 11, 17, and 19. In practice however, I never had a situation where I felt I needed these additional notes when working with 19edo.