User:FloraC/Fumica's edo impressions: Difference between revisions
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* 3 – Augmented chord. | * 3 – Augmented chord. | ||
* 4 – Diminished chord. | * 4 – Diminished chord. | ||
* 5 – | * 5 – Equalized pentic scale. | ||
* 6 – Whole tone scale. | * 6 – Whole tone scale. | ||
* 7 – | * 7 – Equalized diatonic scale. | ||
* 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. | * 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. | * 9 – Similar to 8edo, its harmonic resource is quite sparse. Treat it as augmented chords. Good news is there are three. | ||
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! A-tier | ! A-tier | ||
| 10 | | 10, 15, 24, 31, 34 | ||
|- | |- | ||
! B-tier | ! B-tier | ||
| 11, 22, 27 | | 11, 14, 22, 27 | ||
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! C-tier | ! C-tier | ||
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* 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. | * 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. | * 13 – Every other step of 26edo. Like 11edo, quintal harmony can be used. The intonation sucks. D-tier. | ||
* 14 – I heard it too that this was the "most dissonant edo". The intonation surely has a lot of spice. Supports squares and godzilla, making it important in theory. Perhaps works better as an interval category scheme than as sound to be listened to. | * 14 – I heard it too that this was the "most dissonant edo". The intonation surely has a lot of spice. Supports squares and godzilla, making it important in theory. Perhaps works better as an interval category scheme than as sound to be listened to. B-tier. | ||
=== Subsemitone-size === | === Subsemitone-size === | ||
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* 53 – The third essential comma-level edo. This one is kinda overrated. The best thing about it is the distinction of 15/13 and 13/10 from nearby septimal intervals, which neither 41- nor 46edo does. What bugs me is that the fifth feels undertempered for pretty much every purpose, and while the 5-limit approximation is praiseworthy the rest deserves more love. Compared to 41- or 46edo, it feels slack and doesn't convey a sense of tightly packed well-compromisedness. | * 53 – The third essential comma-level edo. This one is kinda overrated. The best thing about it is the distinction of 15/13 and 13/10 from nearby septimal intervals, which neither 41- nor 46edo does. What bugs me is that the fifth feels undertempered for pretty much every purpose, and while the 5-limit approximation is praiseworthy the rest deserves more love. Compared to 41- or 46edo, it feels slack and doesn't convey a sense of tightly packed well-compromisedness. B-tier. | ||
* 55 – This edo is out of the optimal range of meantone. Septimal meantone feels dumb here since we know 43edo is sharp enough. It can be used for mohaha, but that feels so similar to 24edo that I'd just go with the latter. D-tier. | * 55 – This edo is out of the optimal range of meantone. Septimal meantone feels dumb here since we know 43edo is sharp enough. It can be used for mohaha, but that feels so similar to 24edo that I'd just go with the latter. D-tier. | ||