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

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* 6 – Whole tone scale.

* 7 – Neutral diatonic.

* 8 – The first nontrivial nondiatonic edo. Since neither the fifth nor the major second passes as consonance, quintal harmony isn't available, not to mention tertian harmony. From here the more complex ratios it approximate on paper generally lack the context to make them ring, so with the very sparse harmonic resource, it forces an approach that focuses on rhythm, texture – anything but harmony. Of course, some resource is there if you try hard enough, but suspending the idea of treating ~~this edo seriously~~ will spare you a demoralizing fight. ~~I mean~~, I believe music that sounds good in it sounds good ''despite'' it, not ''because of'' it; this isn't different from any of the previous edos.

* 8 – The first nontrivial nondiatonic edo. Since neither the fifth nor the major second passes as consonance, quintal harmony isn't available, not to mention tertian harmony. From here the more complex ratios it approximate on paper generally lack the context to make them ring, so with the very sparse harmonic resource, it forces an approach that focuses on rhythm, texture – anything but harmony. Of course, some resource is there if you try hard enough, but suspending the idea of treating it as more than two diminished chords will spare you a demoralizing fight. Ultimately, I just believe music that sounds good in it sounds good ''despite'' it, not ''because of'' it; this isn't different from any of the previous edos.

* 9 – Similar to 8edo, its harmonic resource is quite sparse. Treat it as augmented chords. Good news is there are three.

== Semitone-size ==

* 10 – The first serious edo. Expressivity in the classical and/or septimal chords are neutralized, but harmonic 13 is accurately approximated and offers a critical advantage over 12edo. Imo the best edo for serialism. A-tier.

* 11 – Every other step of 22edo. Quite interesting as it hits ~~the 2.~~9.15~~.7.11 subgroup~~, and thus allows a form of quintal harmony. Actually my favorite nondiatonic edo. B-tier.

* 11 – Every other step of 22edo. Quite interesting as it hits 7, 9, 11, and 15, and thus allows a form of quintal harmony. Actually my favorite nondiatonic edo. B-tier.

* 12 – A no-brainer. Fully laid-back, like a good font to an article – never to get in the way, never to show itself off. It disappears. It lets you focus on the contents. S-tier.

* 13 – Every other step of 26edo. Like 11edo, quintal harmony can be used. The intonation sucks. D-tier.

@@ Line 7: / Line 7: @@
 * 6 – Whole tone scale.
 * 7 – Neutral diatonic.
-* 8 – The first nontrivial nondiatonic edo. Since neither the fifth nor the major second passes as consonance, quintal harmony isn't available, not to mention tertian harmony. From here the more complex ratios it approximate on paper generally lack the context to make them ring, so with the very sparse harmonic resource, it forces an approach that focuses on rhythm, texture – anything but harmony. Of course, some resource is there if you try hard enough, but suspending the idea of treating this edo seriously will spare you a demoralizing fight. I mean, I believe music that sounds good in it sounds good ''despite'' it, not ''because of'' it; this isn't different from any of the previous edos.
+* 8 – The first nontrivial nondiatonic edo. Since neither the fifth nor the major second passes as consonance, quintal harmony isn't available, not to mention tertian harmony. From here the more complex ratios it approximate on paper generally lack the context to make them ring, so with the very sparse harmonic resource, it forces an approach that focuses on rhythm, texture – anything but harmony. Of course, some resource is there if you try hard enough, but suspending the idea of treating it as more than two diminished chords will spare you a demoralizing fight. Ultimately, I just believe music that sounds good in it sounds good ''despite'' it, not ''because of'' it; this isn't different from any of the previous edos.
 * 9 – Similar to 8edo, its harmonic resource is quite sparse. Treat it as augmented chords. Good news is there are three.
 == Semitone-size ==
 * 10 – The first serious edo. Expressivity in the classical and/or septimal chords are neutralized, but harmonic 13 is accurately approximated and offers a critical advantage over 12edo. Imo the best edo for serialism. A-tier.
-* 11 – Every other step of 22edo. Quite interesting as it hits the 2.9.15.7.11 subgroup, and thus allows a form of quintal harmony. Actually my favorite nondiatonic edo. B-tier.
+* 11 – Every other step of 22edo. Quite interesting as it hits 7, 9, 11, and 15, and thus allows a form of quintal harmony. Actually my favorite nondiatonic edo. B-tier.
 * 12 – A no-brainer. Fully laid-back, like a good font to an article – never to get in the way, never to show itself off. It disappears. It lets you focus on the contents. S-tier.
 * 13 – Every other step of 26edo. Like 11edo, quintal harmony can be used. The intonation sucks. D-tier.