User:Eufalesio/EDO impressions: Difference between revisions

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My main reason to use edos is to "buy" the entire gamut and be able to do JIoid stuff in it with the most accuracy, the least amount of pitch classes, and the most conceptualization ease.

My main reason to use edos is to "buy" the entire gamut and be able to do JIoid stuff in it with the most accuracy, the least amount of pitch classes, and the most conceptualization ease within a chain-of-fifths framework.

I thus value edos that have a manageable grain, approximate a lot of stuff, and allow easy chain-of-fifths frameworks; It's easier for me to think in tempered commas along the chain of fifths. I care about the 5-limit, 7-limit, 2.3.5.13, 2.3.5.7.13, and 2.3.5.7.11.13.19(.29) JI subgroups, liking my error to be balanced across primes, but the error on 3 to be minimal so that I can work within a chain-of-fifths framework. I ''can't'' not have a fifth, and it can't be badly out of tune. If there is no diatonic, it's useless to me.

I thus value edos that have a manageable grain, approximate a lot of stuff, and allow easy chain-of-fifths frameworks; It's easier for me to think in tempered commas along the chain of fifths. I care about the 5-limit, 7-limit, 2.3.5.13, 2.3.5.7.13, and 2.3.5.7.11.13.19(.29) JI subgroups, liking my error to be balanced across primes, but the error on 3 to be minimal so that I can work within a chain-of-fifths framework. I ''can't'' not have a fifth, and it can't be badly out of tune. If there is no diatonic, it's outright useless to me. How out of tune do I allow it to be? Between 24\41 and 38\65 both inclusive, including multiples.

~~Despite the fifth inaccuracy,~~ I do like meantone as it is arguably one of the best 5-limit temperaments, and it is obviously the theoretical backbone of Western music theory, still today.

I will make an exception to meantone and compton; I do like meantone as it is arguably one of the best 5-limit temperaments, and it is obviously the theoretical backbone of Western music theory still today. Compton because 12edo is very powerful, and some of its supersets are arguably among the best edos.

I'm not a strict octave purist; I tolerate tempering the octave to achieve a better harmonic palette, and often do so to achieve higher consistency or better intonation, sacrificing a tiny bit of error on the octave to approximate all the harmonics I care about better. I don't mind having the subharmonics being worsely tuned, as they are not mirror images of harmonics, they are their own thing.

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-My main reason to use edos is to "buy" the entire gamut and be able to do JIoid stuff in it with the most accuracy, the least amount of pitch classes, and the most conceptualization ease.
+My main reason to use edos is to "buy" the entire gamut and be able to do JIoid stuff in it with the most accuracy, the least amount of pitch classes, and the most conceptualization ease within a chain-of-fifths framework.
-I thus value edos that have a manageable grain, approximate a lot of stuff, and allow easy chain-of-fifths frameworks; It's easier for me to think in tempered commas along the chain of fifths. I care about the 5-limit, 7-limit, 2.3.5.13, 2.3.5.7.13, and 2.3.5.7.11.13.19(.29) JI subgroups, liking my error to be balanced across primes, but the error on 3 to be minimal so that I can work within a chain-of-fifths framework. I ''can't'' not have a fifth, and it can't be badly out of tune. If there is no diatonic, it's useless to me.
+I thus value edos that have a manageable grain, approximate a lot of stuff, and allow easy chain-of-fifths frameworks; It's easier for me to think in tempered commas along the chain of fifths. I care about the 5-limit, 7-limit, 2.3.5.13, 2.3.5.7.13, and 2.3.5.7.11.13.19(.29) JI subgroups, liking my error to be balanced across primes, but the error on 3 to be minimal so that I can work within a chain-of-fifths framework. I ''can't'' not have a fifth, and it can't be badly out of tune. If there is no diatonic, it's outright useless to me. How out of tune do I allow it to be? Between 24\41 and 38\65 both inclusive, including multiples.
-Despite the fifth inaccuracy, I do like meantone as it is arguably one of the best 5-limit temperaments, and it is obviously the theoretical backbone of Western music theory, still today.
+I will make an exception to meantone and compton; I do like meantone as it is arguably one of the best 5-limit temperaments, and it is obviously the theoretical backbone of Western music theory still today. Compton because 12edo is very powerful, and some of its supersets are arguably among the best edos.
 I'm not a strict octave purist; I tolerate tempering the octave to achieve a better harmonic palette, and often do so to achieve higher consistency or better intonation, sacrificing a tiny bit of error on the octave to approximate all the harmonics I care about better. I don't mind having the subharmonics being worsely tuned, as they are not mirror images of harmonics, they are their own thing.