User:Eboone/EDO Impressions: Difference between revisions

Line 88:

Of the subsets of 12edo, I'd say this is the most interesting because it contains a whole tone, and the only one that isn't just a meme. 6edo contains 2 interlocked instances of 3edo, meaning it has the same echoey major third, and it also contains 3 interlocked instances of 2edo, meaning it has the same uninvertible tritone. The combination of these intervals really contributes to the infamous dreamy quality of this edo, better known as the whole-tone scale.

There are many pieces that make use of the whole tone scale, but very few that exist strictly in 6edo. [[wikipedia:Claude_Debussy|Claude Debussy]] is well known for his use of the scale, and it's a very interesting color to use while working in 6n-edos, but a very limiting scale to use in isolation. The best 6edo pieces I could find are the prelude and invention from [[Aaron Andrew Hunt]]'s "[https://aaronandrewhunt.bandcamp.com/album/the-equal-tempered-keyboard The Equal Tempered Keyboard]," and honestly they are pretty interesting for what they are. They don't really sound dreamy, which is the sound that I feel is most well suited for this edo, but they are actually able to guide the listener on a comprehensive harmonic journey which is certainly no easy task.

There are many pieces that make use of the whole-tone scale, but very few that exist strictly in 6edo. [[wikipedia:Claude_Debussy|Claude Debussy]] is well known for his use of the scale, and it's a very interesting color to use while working in 6n-edos, but a very limiting scale to use in isolation. The best 6edo pieces I could find are the prelude and invention from [[Aaron Andrew Hunt]]'s "[https://aaronandrewhunt.bandcamp.com/album/the-equal-tempered-keyboard The Equal Tempered Keyboard]," and honestly they are pretty interesting for what they are. They don't really sound dreamy, which is the sound that I feel is most well suited for this edo, but they are actually able to guide the listener on a comprehensive harmonic journey which is certainly no easy task.

6edo is the first edo to contain a dominant 7th chord, which would be more interesting if there were a perfect fifth, but at least you can resolve it through the back door (up a whole step). In fact, that's really one of the only ways you can make satisfying chord progressions in this edo. The arguably more infamous Mario cadence (♭VI-♭VII-I) is ever-present here, as it is, in my opinion, the most satisfying progression that exists in this edo. So, if you really wanted to, you could create a Mario-style fanfare using just the whole-tone scale, but deliberately avoiding the perfect fifth in such a style would be uncharacteristic.

@@ Line 88: / Line 88: @@
 Of the subsets of 12edo, I'd say this is the most interesting because it contains a whole tone, and the only one that isn't just a meme. 6edo contains 2 interlocked instances of 3edo, meaning it has the same echoey major third, and it also contains 3 interlocked instances of 2edo, meaning it has the same uninvertible tritone. The combination of these intervals really contributes to the infamous dreamy quality of this edo, better known as the whole-tone scale.
-There are many pieces that make use of the whole tone scale, but very few that exist strictly in 6edo. [[wikipedia:Claude_Debussy|Claude Debussy]] is well known for his use of the scale, and it's a very interesting color to use while working in 6n-edos, but a very limiting scale to use in isolation. The best 6edo pieces I could find are the prelude and invention from [[Aaron Andrew Hunt]]'s "[https://aaronandrewhunt.bandcamp.com/album/the-equal-tempered-keyboard The Equal Tempered Keyboard]," and honestly they are pretty interesting for what they are. They don't really sound dreamy, which is the sound that I feel is most well suited for this edo, but they are actually able to guide the listener on a comprehensive harmonic journey which is certainly no easy task.
+There are many pieces that make use of the whole-tone scale, but very few that exist strictly in 6edo. [[wikipedia:Claude_Debussy|Claude Debussy]] is well known for his use of the scale, and it's a very interesting color to use while working in 6n-edos, but a very limiting scale to use in isolation. The best 6edo pieces I could find are the prelude and invention from [[Aaron Andrew Hunt]]'s "[https://aaronandrewhunt.bandcamp.com/album/the-equal-tempered-keyboard The Equal Tempered Keyboard]," and honestly they are pretty interesting for what they are. They don't really sound dreamy, which is the sound that I feel is most well suited for this edo, but they are actually able to guide the listener on a comprehensive harmonic journey which is certainly no easy task.
 edo is the first edo to contain a dominant 7th chord, which would be more interesting if there were a perfect fifth, but at least you can resolve it through the back door (up a whole step). In fact, that's really one of the only ways you can make satisfying chord progressions in this edo. The arguably more infamous Mario cadence (♭VI-♭VII-I) is ever-present here, as it is, in my opinion, the most satisfying progression that exists in this edo. So, if you really wanted to, you could create a Mario-style fanfare using just the whole-tone scale, but deliberately avoiding the perfect fifth in such a style would be uncharacteristic.