User:Eboone/EDO Impressions: Difference between revisions

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[[File:EDO Tier List.png|alt=A tier list of EDOs. S Tier - 12, 34, 31, 53, 72, 50, 22, 17, 15, 26, 19. A Tier - 27, 10, 46, 21, 20, 7, 16, 41, 55. B Tier - 18, 24, 36, 48, 65, 58, 25, 63, 13, 11, 56, 29, 23, 9, 5, 8. C Tier - 40, 43, 28, 14, 70, 68, 57, 37, 30, 60, 54, 49, 47, 44, 38, 67, 59, 35, 6. F Tier - 52, 62, 66, 71, 64, 39, 51, 61, 32, 39, 42, 45, 33.|thumb|[OUTDATED, soon to be updated] Ebooone's tier list of EDOs 5-72, available at https://tiermaker.com/list/personal/numbers-0-100-15569788/3966935.]]

I, at least currently, work strictly in [[EDO|'''edos''']]. I don't tend to go any higher than '''72edo''' in my own works, so here are my impressions of all the positive integer edos up to 72. Of course, the '''tier list''' above is subject to change in the future, as are all of the impressions on this page.

I, at least currently, work strictly in [[EDO|'''edos''']]. I don't tend to go any higher than '''72edo''' in my own works, so here are my impressions of all the positive integer edos up to 72. This page is designed to be read wholly from top to bottom, but you can still read specific entries in isolation.

Of course, the '''tier list''' above is subject to change in the future, as are all of the impressions on this page.

All demos are created by me in [[MuseScore|MuseScore 3]]. They are all short loops at 120 bpm and are meant to be in a style I think works well in that edo.

~~All demos are created by me in MuseScore 3. They are all short loops at 120 bpm and are meant to be in a style I think works well in that edo.~~

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=== [[1edo]] ===

''Tier: '''F'''''[[File:1edo groove.mp3|none|thumb|1edo metal on E]]

Honestly, can this one even be called an edo? I mean, "equal divisions of the octave" implies that the octave is divided. Anyway, this edo is pretty lame because the whole point of using different temperaments is to access ~~certain~~ melodic and harmonic ~~properties~~, and this edo doesn't allow any of that. The only way to make this edo musical is through rhythm, dynamics, form, etc... stuff that isn't related to tuning.

Honestly, can this one even be called an edo? I mean, "equal divisions of the octave" implies that the octave is divided. Anyway, this edo is pretty lame because the whole point of using different temperaments is to access different melodic and harmonic opportunities, and this edo doesn't allow any of that. The only way to make this edo musical is through rhythm, dynamics, form, etc... stuff that isn't related to tuning.

Although, technically there is some room for "melodic" expression if you allow yourself to use devices such as pitch bend. Or, perhaps you could use timbres that don't exactly settle on one pitch but clearly aren't unpitched either, like an old guitar string with wobbly harmonics. These "cheat codes" are partially what make one-note jazz solos so interesting, but of course the rest of the interest comes from the novelty of playing only one note amidst an electron cloud of dissonance. On its own, there really isn't much this ~~tuning~~ offers.

Although, technically there is some room for "melodic" expression if you allow yourself to use devices such as pitch bend. Or, perhaps you could use timbres that don't exactly settle on one pitch but clearly aren't unpitched either, like an old guitar string with wobbly harmonics. These "cheat codes" are partially what make one-note jazz solos so interesting, but of course the rest of the interest comes from the novelty of playing only one note amidst an electron cloud of dissonance. On its own, there really isn't much this temperament offers.

At least it's better than [[0edo]].

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=== [[2edo]] ===

''Tier: '''F'''''

[[File:2edo groove.mp3|none|thumb|2edo "mischievous" on E and B♭]]

[[File:2edo groove.mp3|none|thumb|2edo mischievous theme on E and B♭]]

This edo is literally just a tritone. And, in this case, it's a rather interesting one. It's the 600¢ hemioctave tritone, the only one ~~with no~~ [[octave complement]]. So, while its melodic and harmonic capabilities in isolation are pretty bare, its symmetrical nature allows for some cool gimmicks. If instead it were, say, [[11/8]], that would open the possibility of using both 11/8 and [[16/11]], its octave complement. This would allow for greater melodic and harmonic ~~possibilities~~, but at the expense of having a neat symmetrical tritone.

This edo is literally just a tritone. And, in this case, it's a rather interesting one. It's the 600¢ hemioctave tritone, the only one that is its own [[octave complement]]. So, while its melodic and harmonic capabilities in isolation are pretty bare, its symmetrical nature allows for some cool gimmicks. If instead it were, say, [[11/8]], that would open the possibility of using both 11/8 and [[16/11]], its octave complement. This would allow for greater melodic and harmonic expression, but at the expense of having a neat symmetrical tritone.

To illustrate this tritone's nature, the demo for this edo is completely flipped on its head. If you listen carefully, you will notice that the pizzicato violins and celli play each other's part upside down in the second half of the loop. The gimmick is that this only affects contour, not the harmony. So yeah, that's pretty cool.

Anyway, this edo isn't much. In fact, I can't honestly say it's any better than 1edo. In theory, there should be no reason to choose 1edo over 2edo, but how much does that one extra note really add in practice? At the end of the day, ~~they~~ are ~~both just~~ novelties.

Anyway, this edo isn't much. In fact, I can't honestly say it's any better than 1edo. In theory, there should be no reason to choose 1edo over 2edo, but how much does that one extra note really add in practice? At the end of the day, both edos are mere novelties.

=== [[3edo]] ===

''Tier: '''~~N/A~~'''''

''Tier: '''F+'''''

[[File:3edo groove.mp3|none|thumb|3edo "brumous" ambience on D augmented]]

This edo is just an augmented triad, but specifically one that is derived by stacking 400¢ major thirds~~, meaning~~ it closes the octave and, as such, ~~cannot be inverted~~.

This edo is just an augmented triad, but specifically one that is derived by stacking three 400¢ major thirds. This means it closes the octave and, as such, is its own inversion. So, once again, the melodic and harmonic capabilities of this triad in isolation are pretty slim compared to, say, one derived by stacking [[5/4]]. Yet, the symmetrical nature of this chord allows for quite a "sturdy" sound that helps to keep the temperament together.

The demo for this edo has a foggy, perhaps misty vibe. The uninvertible nature of the augmented triad is illustrated in the synth, as it oscillates between two inversions of the triad yet the quality of the chord remains utterly identical. If it were any other type of augmented triad, the inversions would still sound quite similar but they would each have a different vibe.

Anyway, I'd say this edo is definitely more interesting than 1edo and 2edo, mostly because it is the smallest edo with a triad.

=== [[4edo]] ===

''Tier: '''~~N/A~~'''''

''Tier: '''F+'''''

[[File:4edo groove.mp3|none|thumb|4edo fanfare on B diminished]]

~~This edo~~ is ~~just straight up~~ a better version of 2edo. It's a diminished tetrad, but specifically one that closes the octave and, as such, ~~cannot be inverted~~. It's so ~~metal it has 2 tritones~~.

While I wouldn't necessarily say 2edo is a better version of 1edo, I will say 4edo is a better version of 2edo. It's a diminished tetrad, but specifically one that is derived by stacking four 300¢ minor thirds. This means it closes the octave and, as such, is its own inversion. So, as always, the melodic and harmonic capabilities of this tetrad in isolation are pretty slim compared to, say, one derived by stacking [[6/5]]. Yet, the symmetrical nature of this chord allows for quite a, dare I say, "sturdy" sound that helps to keep the temperament together.

Sounding familiar? Yeah, I'd say this edo is on equal footing with 3edo. You could certainly argue that it's better than 3edo, considering it contains two interlocked instances of 2edo, as well as an extra note. This seems like a convincing case for 4edo, but I personally think that augmented triads are more interesting than diminished tetrads in isolation. It's really all about taste, as is everything in the world of xenharmony.

By the way, you won't be seeing F tier for a while after this. These first four edos are honestly just memes, so no amount of good things I say about them can eke them out of F tier. Now, on to the edos people actually care about.

=== [[5edo]] ===

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=== [[10edo]] ===

''Tier: '''A+'''''[[File:10edo groove.mp3|none|thumb|10edo "heist" in G [[3L 4s|bish]]]]

''Tier: '''A+'''''[[File:10edo groove.mp3|none|thumb|10edo "heist" theme in G [[3L 4s|bish]]]]

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 {{DISPLAYTITLE:Ebooone's EDO Impressions}}
 [[File:EDO Tier List.png|alt=A tier list of EDOs. S Tier - 12, 34, 31, 53, 72, 50, 22, 17, 15, 26, 19. A Tier - 27, 10, 46, 21, 20, 7, 16, 41, 55. B Tier - 18, 24, 36, 48, 65, 58, 25, 63, 13, 11, 56, 29, 23, 9, 5, 8. C Tier - 40, 43, 28, 14, 70, 68, 57, 37, 30, 60, 54, 49, 47, 44, 38, 67, 59, 35, 6. F Tier - 52, 62, 66, 71, 64, 39, 51, 61, 32, 39, 42, 45, 33.|thumb|[OUTDATED, soon to be updated] Ebooone's tier list of EDOs 5-72, available at https://tiermaker.com/list/personal/numbers-0-100-15569788/3966935.]]
-I, at least currently, work strictly in [[EDO|'''edos''']]. I don't tend to go any higher than '''72edo''' in my own works, so here are my impressions of all the positive integer edos up to 72. Of course, the '''tier list''' above is subject to change in the future, as are all of the impressions on this page.
+I, at least currently, work strictly in [[EDO|'''edos''']]. I don't tend to go any higher than '''72edo''' in my own works, so here are my impressions of all the positive integer edos up to 72. This page is designed to be read wholly from top to bottom, but you can still read specific entries in isolation.
+Of course, the '''tier list''' above is subject to change in the future, as are all of the impressions on this page.
+All demos are created by me in [[MuseScore|MuseScore 3]]. They are all short loops at 120 bpm and are meant to be in a style I think works well in that edo.
-All demos are created by me in MuseScore 3. They are all short loops at 120 bpm and are meant to be in a style I think works well in that edo.
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 === [[1edo]] ===
 ''Tier: '''F'''''[[File:1edo groove.mp3|none|thumb|1edo metal on E]]
-Honestly, can this one even be called an edo? I mean, "equal divisions of the octave" implies that the octave is divided. Anyway, this edo is pretty lame because the whole point of using different temperaments is to access certain melodic and harmonic properties, and this edo doesn't allow any of that. The only way to make this edo musical is through rhythm, dynamics, form, etc... stuff that isn't related to tuning.
+Honestly, can this one even be called an edo? I mean, "equal divisions of the octave" implies that the octave is divided. Anyway, this edo is pretty lame because the whole point of using different temperaments is to access different melodic and harmonic opportunities, and this edo doesn't allow any of that. The only way to make this edo musical is through rhythm, dynamics, form, etc... stuff that isn't related to tuning.
-Although, technically there is some room for "melodic" expression if you allow yourself to use devices such as pitch bend. Or, perhaps you could use timbres that don't exactly settle on one pitch but clearly aren't unpitched either, like an old guitar string with wobbly harmonics. These "cheat codes" are partially what make one-note jazz solos so interesting, but of course the rest of the interest comes from the novelty of playing only one note amidst an electron cloud of dissonance. On its own, there really isn't much this tuning offers.
+Although, technically there is some room for "melodic" expression if you allow yourself to use devices such as pitch bend. Or, perhaps you could use timbres that don't exactly settle on one pitch but clearly aren't unpitched either, like an old guitar string with wobbly harmonics. These "cheat codes" are partially what make one-note jazz solos so interesting, but of course the rest of the interest comes from the novelty of playing only one note amidst an electron cloud of dissonance. On its own, there really isn't much this temperament offers.
 At least it's better than [[0edo]].
@@ Line 31: / Line 34: @@
 === [[2edo]] ===
 ''Tier: '''F'''''
-[[File:2edo groove.mp3|none|thumb|2edo "mischievous" on E and B♭]]
+[[File:2edo groove.mp3|none|thumb|2edo mischievous theme on E and B♭]]
-This edo is literally just a tritone. And, in this case, it's a rather interesting one. It's the 600¢ hemioctave tritone, the only one with no [[octave complement]]. So, while its melodic and harmonic capabilities in isolation are pretty bare, its symmetrical nature allows for some cool gimmicks. If instead it were, say, [[11/8]], that would open the possibility of using both 11/8 and [[16/11]], its octave complement. This would allow for greater melodic and harmonic possibilities, but at the expense of having a neat symmetrical tritone.
+This edo is literally just a tritone. And, in this case, it's a rather interesting one. It's the 600¢ hemioctave tritone, the only one that is its own [[octave complement]]. So, while its melodic and harmonic capabilities in isolation are pretty bare, its symmetrical nature allows for some cool gimmicks. If instead it were, say, [[11/8]], that would open the possibility of using both 11/8 and [[16/11]], its octave complement. This would allow for greater melodic and harmonic expression, but at the expense of having a neat symmetrical tritone.
 To illustrate this tritone's nature, the demo for this edo is completely flipped on its head. If you listen carefully, you will notice that the pizzicato violins and celli play each other's part upside down in the second half of the loop. The gimmick is that this only affects contour, not the harmony. So yeah, that's pretty cool.
-Anyway, this edo isn't much. In fact, I can't honestly say it's any better than 1edo. In theory, there should be no reason to choose 1edo over 2edo, but how much does that one extra note really add in practice? At the end of the day, they are both just novelties.
+Anyway, this edo isn't much. In fact, I can't honestly say it's any better than 1edo. In theory, there should be no reason to choose 1edo over 2edo, but how much does that one extra note really add in practice? At the end of the day, both edos are mere novelties.
 === [[3edo]] ===
-''Tier: '''N/A'''''
+''Tier: '''F+'''''
 [[File:3edo groove.mp3|none|thumb|3edo "brumous" ambience on D augmented]]
-This edo is just an augmented triad, but specifically one that is derived by stacking 400¢ major thirds, meaning it closes the octave and, as such, cannot be inverted.
+This edo is just an augmented triad, but specifically one that is derived by stacking three 400¢ major thirds. This means it closes the octave and, as such, is its own inversion. So, once again, the melodic and harmonic capabilities of this triad in isolation are pretty slim compared to, say, one derived by stacking [[5/4]]. Yet, the symmetrical nature of this chord allows for quite a "sturdy" sound that helps to keep the temperament together.
+The demo for this edo has a foggy, perhaps misty vibe. The uninvertible nature of the augmented triad is illustrated in the synth, as it oscillates between two inversions of the triad yet the quality of the chord remains utterly identical. If it were any other type of augmented triad, the inversions would still sound quite similar but they would each have a different vibe.
+Anyway, I'd say this edo is definitely more interesting than 1edo and 2edo, mostly because it is the smallest edo with a triad.
 === [[4edo]] ===
-''Tier: '''N/A'''''
+''Tier: '''F+'''''
 [[File:4edo groove.mp3|none|thumb|4edo fanfare on B diminished]]
-This edo is just straight up a better version of 2edo. It's a diminished tetrad, but specifically one that closes the octave and, as such, cannot be inverted. It's so metal it has 2 tritones.
+While I wouldn't necessarily say 2edo is a better version of 1edo, I will say 4edo is a better version of 2edo. It's a diminished tetrad, but specifically one that is derived by stacking four 300¢ minor thirds. This means it closes the octave and, as such, is its own inversion. So, as always, the melodic and harmonic capabilities of this tetrad in isolation are pretty slim compared to, say, one derived by stacking [[6/5]]. Yet, the symmetrical nature of this chord allows for quite a, dare I say, "sturdy" sound that helps to keep the temperament together.
+Sounding familiar? Yeah, I'd say this edo is on equal footing with 3edo. You could certainly argue that it's better than 3edo, considering it contains two interlocked instances of 2edo, as well as an extra note. This seems like a convincing case for 4edo, but I personally think that augmented triads are more interesting than diminished tetrads in isolation. It's really all about taste, as is everything in the world of xenharmony.
+By the way, you won't be seeing F tier for a while after this. These first four edos are honestly just memes, so no amount of good things I say about them can eke them out of F tier. Now, on to the edos people actually care about.
 === [[5edo]] ===
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 === [[10edo]] ===
-''Tier: '''A+'''''[[File:10edo groove.mp3|none|thumb|10edo "heist" in G [[3L 4s|bish]]]]
+''Tier: '''A+'''''[[File:10edo groove.mp3|none|thumb|10edo "heist" theme in G [[3L 4s|bish]]]]
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