User:Aura/Aura's EDO Impressions: Difference between revisions
Updating my list of EDO Impressions based on the knowledge I've gained since I made this page initially |
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2 - This EDO is very simple, offering only the perfect consonance of the octave and perfect dissonance of the tritone. The brute force contrast between the antitonic (my name for the diatonic function of pitches located at or around 600 cents away from the tonic) and the tonic does make for good minimalistic harmonic progression, but to use this to its maximum potential requires some of the same techniques needed to master traditional music theory's Locrian mode, and even then, this EDO's limited note palette only ensures that it gets boring rather quickly. | 2 - This EDO is very simple, offering only the perfect consonance of the octave and perfect dissonance of the tritone. The brute force contrast between the antitonic (my name for the diatonic function of pitches located at or around 600 cents away from the tonic) and the tonic does make for good minimalistic harmonic progression, but to use this to its maximum potential requires some of the same techniques needed to master traditional music theory's Locrian mode, and even then, this EDO's limited note palette only ensures that it gets boring rather quickly. | ||
3 - This EDO is also quite simple, and relies on the perfect consonance of the octave to obtain resolution, with the dominant harmony consisting only of the two steps surrounding the octave. Like with 2edo, 3edo does make for good minimalistic harmonic progression, but to use it to its maximum potential requires serious skills, and its limited note palette again ensures that it gets boring rather quickly. | 3 - This EDO is also quite simple, and it relies on the perfect consonance of the octave to obtain resolution, with the dominant harmony consisting only of the two steps surrounding the octave. Like with 2edo, 3edo does make for good minimalistic harmonic progression, but to use it to its maximum potential requires serious skills, and its limited note palette again ensures that it gets boring rather quickly. | ||
4 - This EDO is twice as complicated as 2edo, but no more than that. Again, it relies on the perfect consonance of the octave to obtain any type of resolution, and the brute force contrast between the antitonic and the tonic makes for good minimalistic harmonic progression. This time, however, the pitch directly above the tonic can be used in conjunction with the tonic and the octave to create a surprisingly decent tonic chord- more or less the exact means of obtaining resolution in the strictest forms of traditional music theory's Locrian mode. However, given that there are only two other pitch classes to work with, a chord like this is best saved for the end of a piece. Unlike 2edo, 4edo has more of a melodic structure to work with, but again, this requires skills, and this EDO is liable to get boring rather quickly in the hands of an unskilled composer. | 4 - This EDO is twice as complicated as 2edo, but no more than that. Again, it relies on the perfect consonance of the octave to obtain any type of resolution, and the brute force contrast between the antitonic and the tonic makes for good minimalistic harmonic progression. This time, however, the pitch directly above the tonic can be used in conjunction with the tonic and the octave to create a surprisingly decent tonic chord- more or less the exact means of obtaining resolution in the strictest forms of traditional music theory's Locrian mode. However, given that there are only two other pitch classes to work with, a chord like this is best saved for the end of a piece. Unlike 2edo, 4edo has more of a melodic structure to work with, but again, this requires skills, and this EDO is liable to get boring rather quickly in the hands of an unskilled composer. | ||
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5 - This EDO is the smallest one commonly used and is the first one that allows the usage of the fifth above the tonic as part of a resolved tonic harmony, though this admittedly sounds dirty, and furthermore the note a fifth above the dominant acts more like a second than a third in this case. Thankfully, this EDO doesn't take as much skill to work with as the previous three EDOs, and it is not quite as dissonant in terms of its note palette either. Beyond this, and the fact that it provides the framework for the varicant and contravaricant functions, I can't say much more about this EDO than what has already been said by others who have used it, as the only reason I know anything beyond what I've mentioned here is due to observations of others' work on this EDO. | 5 - This EDO is the smallest one commonly used and is the first one that allows the usage of the fifth above the tonic as part of a resolved tonic harmony, though this admittedly sounds dirty, and furthermore the note a fifth above the dominant acts more like a second than a third in this case. Thankfully, this EDO doesn't take as much skill to work with as the previous three EDOs, and it is not quite as dissonant in terms of its note palette either. Beyond this, and the fact that it provides the framework for the varicant and contravaricant functions, I can't say much more about this EDO than what has already been said by others who have used it, as the only reason I know anything beyond what I've mentioned here is due to observations of others' work on this EDO. | ||
6 - This EDO requires a mixture of the aforementioned techniques for 2edo and 3edo for proper harmonizing. I'd really like to see someone take on this challenge, especially as there are more options for this EDO than for either 2edo or 3edo- particularly in the realm of melody. | 6 - This EDO requires a mixture of the aforementioned techniques for 2edo and 3edo for proper harmonizing, along with knowledge of the whole tone scale from 12edo, as that scale is exactly what this EDO is. I'd really like to see someone take on this challenge, especially as there are more options for this EDO than for either 2edo or 3edo- particularly in the realm of melody. | ||
7 - This EDO provides the framework for all the diatonic functions and most of the paradiatonic functions. Beyond that, the fact that all triads are essentially neutral in this EDO, and the fact that this EDO supports Amity, I have very little to comment on. | 7 - This EDO provides the framework for all the diatonic functions and most of the paradiatonic functions. Beyond that, the fact that all triads are essentially neutral in this EDO, and the fact that this EDO supports Amity, I have very little to comment on. | ||
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28-30 - Um... | 28-30 - Um... | ||
31 - Working with Superlocrian in this EDO is again interesting, but it's easier to do with this EDO than with 27edo. | 31 - Working with Superlocrian in this EDO is again interesting, but it's easier to do with this EDO than with 27edo. Apart from that, I'm not too thrilled with the lack of the telic fifth, nor the nature of this tuning system's approximation of the 11-prime. | ||
32-34 - Um... | 32-34 - Um... | ||