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

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=== Subsemitone-size ===

* 15 – The error of the fifth is getting quite large for its step size, particularly if you compare it with 10edo. Either this or 10edo can be viewed as the opposite of 14edo, so I think of this as the direct competitor of 10edo. As for which I prefer? I have no idea. A-tier.

* 16 – Potentially useful as every other step of 32edo. Besides that, it has armodue, basically an extremely flat fifth that doesn't sound like the 3rd harmonic at all. "~~Fifthness~~" is useless if not for approximating the 3rd harmonic, so I'm afraid I don't consider this approach to have much value. D-tier.

* 16 – Potentially useful as every other step of 32edo. Besides that, it has armodue, basically an extremely flat fifth that doesn't sound like the 3rd harmonic at all. "Fifthiness" is useless if not for approximating the 3rd harmonic, so I'm afraid I don't consider this approach to have much value. D-tier.

* 17 – This edo contains an impressive diatonic scale which is nice for both melody and harmony. Semiquartal harmony, that is using the contrast between 7/4 and 12/7 as the basis of tonality, works exceptionally well in this system. S-tier.

* 18 – Potentially useful as every other step of 36edo. D-tier.

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* 39 – 1/5-comma quasisuper, most notable for tuning the minor second to 28/27 (with the 39d val) which I feel is where the tension peaks for voice leading. Such an overlooked system despite being similar to 27edo in many ways. B-tier.

* 41 – The first of the five essential comma-level edos, and the first edo to achieve 9-odd-limit distinction and consistency. This is most significant for providing three flavors for each chromatic category: classical, Pythagorean, and septimal. In this case it is a schismic and garischismic system, so that all three kinds are separated by the same comma step and can be found on a stack of fifths. The comma step is somewhat larger than just, making the differences more pronounced, which is part of why I think this edo is pretty deep – the step isn't only a comma, but many things at once, including but not limited to the septimal dieses, as well as the chroma of the archaeotonic scale, the scale of Tetracot[7]. The best subgroup of this edo is, actually, 2.3.5.7.11.19. Prime 13 is certainly plausible, but prime 19 fits way better. There's a unique uniform tuning for the harmonic segment 18::22, a fact related to the vanish of s10 = 100/99 and s9/s11 = 243/242. The beauty of this edo goes even beyond the structure, but also to the intonation: it has a very slightly sharp 3 and a more noticeably flat 5, making a flat, more stable 15; that is ideal for my music. Finally, it's an ideal tuning for the magic temperament. I can't compliment it enough. S-tier.

* 43 – 1/5-comma meantone, ~~basically the optimal~~ meantone tuning in the 5-limit. The 3 and 5 are equally off, making up a beautifully pure 15. Unfortunately the diesis is too small to achieve good septimal and undecimal harmony. B-tier.

* 43 – 1/5-comma meantone, not a bad meantone tuning in the 5-limit. The 3 and 5 are equally off, making up a beautifully pure 15. Unfortunately the diesis is too small to achieve good septimal and undecimal harmony. B-tier.

* 44 – This edo adds decent approximation to harmonic 13 on top of 22edo's 11-limit, which is pretty tense to start with. At this point it just all breaks down. D-tier.

* 45 – The only legit edo tuning for flattone. Otherwise it has little utility. It has this weird structure of 9/8~10/9~11/10 all tempered together as a characteristic of flattone, but meanwhile the septimal comma is tuned to two steps, which feels a bit ugly. D-tier.

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 === Subsemitone-size ===
 * 15 – The error of the fifth is getting quite large for its step size, particularly if you compare it with 10edo. Either this or 10edo can be viewed as the opposite of 14edo, so I think of this as the direct competitor of 10edo. As for which I prefer? I have no idea. A-tier.
-* 16 – Potentially useful as every other step of 32edo. Besides that, it has armodue, basically an extremely flat fifth that doesn't sound like the 3rd harmonic at all. "Fifthness" is useless if not for approximating the 3rd harmonic, so I'm afraid I don't consider this approach to have much value. D-tier.
+* 16 – Potentially useful as every other step of 32edo. Besides that, it has armodue, basically an extremely flat fifth that doesn't sound like the 3rd harmonic at all. "Fifthiness" is useless if not for approximating the 3rd harmonic, so I'm afraid I don't consider this approach to have much value. D-tier.
 * 17 – This edo contains an impressive diatonic scale which is nice for both melody and harmony. Semiquartal harmony, that is using the contrast between 7/4 and 12/7 as the basis of tonality, works exceptionally well in this system. S-tier.
 * 18 – Potentially useful as every other step of 36edo. D-tier.
@@ Line 76: / Line 76: @@
 * 39 – 1/5-comma quasisuper, most notable for tuning the minor second to 28/27 (with the 39d val) which I feel is where the tension peaks for voice leading. Such an overlooked system despite being similar to 27edo in many ways. B-tier.
 * 41 – The first of the five essential comma-level edos, and the first edo to achieve 9-odd-limit distinction and consistency. This is most significant for providing three flavors for each chromatic category: classical, Pythagorean, and septimal. In this case it is a schismic and garischismic system, so that all three kinds are separated by the same comma step and can be found on a stack of fifths. The comma step is somewhat larger than just, making the differences more pronounced, which is part of why I think this edo is pretty deep – the step isn't only a comma, but many things at once, including but not limited to the septimal dieses, as well as the chroma of the archaeotonic scale, the scale of Tetracot[7]. The best subgroup of this edo is, actually, 2.3.5.7.11.19. Prime 13 is certainly plausible, but prime 19 fits way better. There's a unique uniform tuning for the harmonic segment 18::22, a fact related to the vanish of s10 = 100/99 and s9/s11 = 243/242. The beauty of this edo goes even beyond the structure, but also to the intonation: it has a very slightly sharp 3 and a more noticeably flat 5, making a flat, more stable 15; that is ideal for my music. Finally, it's an ideal tuning for the magic temperament. I can't compliment it enough. S-tier.
-* 43 – 1/5-comma meantone, basically the optimal meantone tuning in the 5-limit. The 3 and 5 are equally off, making up a beautifully pure 15. Unfortunately the diesis is too small to achieve good septimal and undecimal harmony. B-tier.
+* 43 – 1/5-comma meantone, not a bad meantone tuning in the 5-limit. The 3 and 5 are equally off, making up a beautifully pure 15. Unfortunately the diesis is too small to achieve good septimal and undecimal harmony. B-tier.
 * 44 – This edo adds decent approximation to harmonic 13 on top of 22edo's 11-limit, which is pretty tense to start with. At this point it just all breaks down. D-tier.
 * 45 – The only legit edo tuning for flattone. Otherwise it has little utility. It has this weird structure of 9/8~10/9~11/10 all tempered together as a characteristic of flattone, but meanwhile the septimal comma is tuned to two steps, which feels a bit ugly. D-tier.