User:Eboone/EDO Impressions: Difference between revisions

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Overall, a very unique and awesome edo that stands atop the macrotonal podium as the best edo smaller than 12edo (in my opinion).

''*This problem creeps up in all 5n-edos up to 30edo, and while I say I prefer to assign the naturals to a different mos rather than stick to the diatonic mos which isn't even supported, I really only mean that for 10edo. 15edo is the other most common 5n-edo with the 720¢ fifth, and trying to notate it any other way than with accordance to the diatonic mos ends up looking weird~~. Even still, I do not like equating natural pitches, so I still choose to omit B and F~~. At the end of the day, some edos just aren't fit to be notated on a 5-line staff generated by fifths.''

''*This problem creeps up in all 5n-edos up to 30edo, and while I say I prefer to assign the naturals to a different mos rather than stick to the diatonic mos which isn't even supported, I really only mean that for 10edo. 15edo is the other most common 5n-edo with the 720¢ fifth, and trying to notate it any other way than with accordance to the diatonic mos ends up looking weird. At the end of the day, some edos just aren't fit to be notated on a 5-line staff generated by fifths.''

=== [[11edo]] ===

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Being a low 7n-edo, the '''[[apotome]]''' is tempered out. This makes sense in 7edo, since there simply aren't enough notes for there to be anything close to a semitone, but in the case of 14edo, it's quite intriguing. You could create a "diatonic" scale, but it would either end up equalized or with more than 2 step sizes. In fact, this edo doesn't have any heptatonic mosses. Instead, it features the likes of '''[[semiquartal]]''' and [[4L 6s|'''lime''']], both in their basic forms. These mosses are rather interesting, with semiquartal being somewhat popular. The one example of lime in 14edo that I could find is [https://www.youtube.com/watch?v=EhjSEUaBXxU&list=PLLZE7hMjEXRaVKJD8IPyiNFxFIVspBv6q&index=3 ''Rexasaurus''] by Francium.

Notating 14edo presents similar problems to that of 10edo. Instead of having to battle the whole B=C and E=F thing, now the issue is the fact that sharps and flats have no meaning. Since the apotome is tempered out, G♯ is literally the same pitch as G. To get around this, most people would just use ups and downs, but I already said I don't really like ups and downs. So, I prefer sagittal. It's a bit clunky since this edo officially uses the Athenian [[55/54]] symbol, instead of something from the Spartan set, but it works well enough.

Anyway, this edo is underappreciated in my opinion. It inherits the xen quality of 7edo and places it in an environment with many more opportunities. My favorite piece in this edo is the prelude from The Equal Tempered Keyboard, and I don't think it would've sounded any better in a different temperament. The watery fifth when paired with the extremely flat subminor third has such a bittersweet sound, and when paired with the supermajor third it has a particular nostalgic vibe. And, of course, the neutral third has its own character that is completely separate from the other two thirds. To think that such a breadth of emotions can be achieved with so few notes is honestly beautiful (...ignoring 12edo...).

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=== [[15edo]] ===

''3×5, 1° = 80¢, Fifth = 720¢ (3\5)''

''Tier: '''S-'''''

@@ Line 178: / Line 178: @@
 Overall, a very unique and awesome edo that stands atop the macrotonal podium as the best edo smaller than 12edo (in my opinion).
-''*This problem creeps up in all 5n-edos up to 30edo, and while I say I prefer to assign the naturals to a different mos rather than stick to the diatonic mos which isn't even supported, I really only mean that for 10edo. 15edo is the other most common 5n-edo with the 720¢ fifth, and trying to notate it any other way than with accordance to the diatonic mos ends up looking weird. Even still, I do not like equating natural pitches, so I still choose to omit B and F. At the end of the day, some edos just aren't fit to be notated on a 5-line staff generated by fifths.''
+''*This problem creeps up in all 5n-edos up to 30edo, and while I say I prefer to assign the naturals to a different mos rather than stick to the diatonic mos which isn't even supported, I really only mean that for 10edo. 15edo is the other most common 5n-edo with the 720¢ fifth, and trying to notate it any other way than with accordance to the diatonic mos ends up looking weird. At the end of the day, some edos just aren't fit to be notated on a 5-line staff generated by fifths.''
 === [[11edo]] ===
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 Being a low 7n-edo, the '''[[apotome]]''' is tempered out. This makes sense in 7edo, since there simply aren't enough notes for there to be anything close to a semitone, but in the case of 14edo, it's quite intriguing. You could create a "diatonic" scale, but it would either end up equalized or with more than 2 step sizes. In fact, this edo doesn't have any heptatonic mosses. Instead, it features the likes of '''[[semiquartal]]''' and [[4L 6s|'''lime''']], both in their basic forms. These mosses are rather interesting, with semiquartal being somewhat popular. The one example of lime in 14edo that I could find is [https://www.youtube.com/watch?v=EhjSEUaBXxU&list=PLLZE7hMjEXRaVKJD8IPyiNFxFIVspBv6q&index=3 ''Rexasaurus''] by Francium.
+Notating 14edo presents similar problems to that of 10edo. Instead of having to battle the whole B=C and E=F thing, now the issue is the fact that sharps and flats have no meaning. Since the apotome is tempered out, G♯ is literally the same pitch as G. To get around this, most people would just use ups and downs, but I already said I don't really like ups and downs. So, I prefer sagittal. It's a bit clunky since this edo officially uses the Athenian [[55/54]] symbol, instead of something from the Spartan set, but it works well enough.
 Anyway, this edo is underappreciated in my opinion. It inherits the xen quality of 7edo and places it in an environment with many more opportunities. My favorite piece in this edo is the prelude from The Equal Tempered Keyboard, and I don't think it would've sounded any better in a different temperament. The watery fifth when paired with the extremely flat subminor third has such a bittersweet sound, and when paired with the supermajor third it has a particular nostalgic vibe. And, of course, the neutral third has its own character that is completely separate from the other two thirds. To think that such a breadth of emotions can be achieved with so few notes is honestly beautiful (...ignoring 12edo...).
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 === [[15edo]] ===
+''3×5, 1° = 80¢, Fifth = 720¢ (3\5)''
 ''Tier: '''S-'''''