User:Godtone: Difference between revisions

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** [[10/9]] is approximated well by 3\20 and [[14/11]] is approximated well by 7\20. Has a flattish approximation of [[7/4]] and some higher (octave-reduced) harmonics but I don't think I'd use it to approximate those higher harmonics.

: This gives it the (additional) remarkable property that all its flavours of seconds are arguably consonant other than 1\20, which is arguably an augmented unison anyway.

* 22: The first EDO that melodically approximates the 11-limit, and very tone efficient for that purpose. Sounds harmonically complex. [[Superpyth]] + [[Orwell]] tuning. Really not a fan of porcupine; it's an [[exotemperament]] (AKA "troll temperament") IMO.

* 22: The first EDO that melodically approximates the 11-limit, and very tone efficient for that purpose. Sounds harmonically complex. [[Superpyth]] + [[Orwell]] tuning. Really not a fan of porcupine; it's an [[exotemperament]] (AKA "troll temperament") IMO. Use [[echidna]] if you want 22ish structure with '''''harmonic''''' approximations of the 11-limit (not just melodic).

* 24: I think neutral intervals and semifourths are kinda cool as an addition and unexpected root movement is cool, so acts as a nice stepping stone into microtonality with a strong base of familiarity to build off of if what you are looking for is the ''microtonal''. But I wouldn't recommend it to a beginner as there are more approachable systems that offer a healthier introduction to microtonality and (especially) xenharmony, such as (especially?) 31 EDO. I also include it because I like highly composite EDOs, and this is very clearly one. Represents the 2.3.11.17.19.31.37 subgroup particularly well.

* 26: Neat for having very good 8/7's and 10/9's, both flavours of major second that I very much appreciate (while 9/8 can get pretty bland). Basically the only tuning of [[flattone]] that I'd consider using as its about as big as a flattone system should be. Note that while 19 EDO is technically also flattone, it represents the border between sharper meantones and flattone, so I do not consider it a proper (in the sense of typical/representative) example of such (for example 19 EDO trying to combine the mappings of 7 as augmented sixth and diminished seventh results in [[49/48|S7]] being tempered, which is to me harmonically almost as implausible as tempering [[25/24]], so definitely an [[exotemperament]]/"troll temperament"). Furthermore, in this tuning of flattone the minor seconds are 13/12's, thus representing a near-equal diatonic such that the minor seconds are subneutral seconds. Has the benefit of extending 13 EDO into a larger and more complete colour set and conceptual framework, creating some truly xenharmonic and xenmelodic opportunities with flattone acting as a rough roadmap back to the more familiar things. Very nice model of the 2.7.11 subgroup; in my eye, it is to the 2.7.11 subgroup as 31 EDO is to the 2.5.7 subgroup.

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 ** [[10/9]] is approximated well by 3\20 and [[14/11]] is approximated well by 7\20. Has a flattish approximation of [[7/4]] and some higher (octave-reduced) harmonics but I don't think I'd use it to approximate those higher harmonics.
 : This gives it the (additional) remarkable property that all its flavours of seconds are arguably consonant other than 1\20, which is arguably an augmented unison anyway.
-* 22: The first EDO that melodically approximates the 11-limit, and very tone efficient for that purpose. Sounds harmonically complex. [[Superpyth]] + [[Orwell]] tuning. Really not a fan of porcupine; it's an [[exotemperament]] (AKA "troll temperament") IMO.
+* 22: The first EDO that melodically approximates the 11-limit, and very tone efficient for that purpose. Sounds harmonically complex. [[Superpyth]] + [[Orwell]] tuning. Really not a fan of porcupine; it's an [[exotemperament]] (AKA "troll temperament") IMO. Use [[echidna]] if you want 22ish structure with '''''harmonic''''' approximations of the 11-limit (not just melodic).
 * 24: I think neutral intervals and semifourths are kinda cool as an addition and unexpected root movement is cool, so acts as a nice stepping stone into microtonality with a strong base of familiarity to build off of if what you are looking for is the ''microtonal''. But I wouldn't recommend it to a beginner as there are more approachable systems that offer a healthier introduction to microtonality and (especially) xenharmony, such as (especially?) 31 EDO. I  also include it because I like highly composite EDOs, and this is very clearly one. Represents the 2.3.11.17.19.31.37 subgroup particularly well.
 * 26: Neat for having very good 8/7's and 10/9's, both flavours of major second that I very much appreciate (while 9/8 can get pretty bland). Basically the only tuning of [[flattone]] that I'd consider using as its about as big as a flattone system should be. Note that while 19 EDO is technically also flattone, it represents the border between sharper meantones and flattone, so I do not consider it a proper (in the sense of typical/representative) example of such (for example 19 EDO trying to combine the mappings of 7 as augmented sixth and diminished seventh results in [[49/48|S7]] being tempered, which is to me harmonically almost as implausible as tempering [[25/24]], so definitely an [[exotemperament]]/"troll temperament"). Furthermore, in this tuning of flattone the minor seconds are 13/12's, thus representing a near-equal diatonic such that the minor seconds are subneutral seconds. Has the benefit of extending 13 EDO into a larger and more complete colour set and conceptual framework, creating some truly xenharmonic and xenmelodic opportunities with flattone acting as a rough roadmap back to the more familiar things. Very nice model of the 2.7.11 subgroup; in my eye, it is to the 2.7.11 subgroup as 31 EDO is to the 2.5.7 subgroup.

Godtone

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