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

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== 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. It hits harmonics 7, 9, 11, and 15, and that's quite something. The 9 allows a form of quintal harmony. The 15 has good voice-leading utility. Of course, those properties are but implications of it being next to 10- and 12edo, both of which have those and can do much more. It just happens they're enough to make 11edo my favorite nondiatonic edo. B-tier.

* 11 – Every other step of 22edo. It hits harmonics 7, 9, 11, and 15, and that's quite something. The 9 allows a form of quintal harmony. The 15 has good voice-leading utility. Of course, those properties are but implications of it being next to 10- and 12edo, both of which have those and can do much more. It just happens they're enough to make 11edo my favorite strictly 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 forget about it and focus on the musical contents instead. S-tier.

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

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* 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 it is pretty good. B-tier.

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

* 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. C-tier.

* 29 – The first edo that sounds like Pythagorean tuning with distinct chromatic and diatonic semitones, by which I mean most contemporary 12edo music will sound alright if retempered to this through dominant. The patent-val interpretation is pretty underwhelming. Otherwise it's a good framework as every other step of 58edo and every third step of 87edo. C-tier.

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

* 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. A-tier.

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 == 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. It hits harmonics 7, 9, 11, and 15, and that's quite something. The 9 allows a form of quintal harmony. The 15 has good voice-leading utility. Of course, those properties are but implications of it being next to 10- and 12edo, both of which have those and can do much more. It just happens they're enough to make 11edo my favorite nondiatonic edo. B-tier.
+* 11 – Every other step of 22edo. It hits harmonics 7, 9, 11, and 15, and that's quite something. The 9 allows a form of quintal harmony. The 15 has good voice-leading utility. Of course, those properties are but implications of it being next to 10- and 12edo, both of which have those and can do much more. It just happens they're enough to make 11edo my favorite strictly 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 forget about it and focus on the musical contents instead. S-tier.
 * 13 – Every other step of 26edo. Like 11edo, quintal harmony can be used. The intonation sucks. D-tier.
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 * 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 it is pretty good. B-tier.
 * 28 – Potentially useful as every other step of 56edo. D-tier.
-* 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. C-tier.
+* 29 – The first edo that sounds like Pythagorean tuning with distinct chromatic and diatonic semitones, by which I mean most contemporary 12edo music will sound alright if retempered to this through dominant. The patent-val interpretation is pretty underwhelming. Otherwise it's a good framework as every other step of 58edo and every third step of 87edo. C-tier.
 * 30 – Potentially useful as every other step of 60edo. D-tier.
 * 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. A-tier.