User:Eufalesio: Difference between revisions

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== My view on microtonality ==

I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned ~~(by virtue of being a "pythagorean tuning")~~.

I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned.

My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as ~~too~~ crude. It's a ~~pythagorean tuning~~, ~~and I~~'~~ve become tired of people trying to masquerade as meantone. 72EDO offers a vastly better harmonic approximation while being very easy to build in a DAW~~.

My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as a tad crude. Yes, it's a god-tier edo, but it's the absolute bare minimum.

EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach ~~microtonality~~, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.

EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach xenharmonic, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.

I don't generally do microtonality; that is, directly using very small steps melodically or harmonically. No. I find that yucky. I do xenharmony, however. Easy JI xenharmony. All of 4:5:6 and 10:12:15 and 7:9:11 and 8:10:13 and 10:13:15, plus all the scales.

== Interests ==

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 == My view on microtonality ==
-I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned (by virtue of being a "pythagorean tuning").
+I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned.
-My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as too crude. It's a pythagorean tuning, and I've become tired of people trying to masquerade as meantone. 72EDO offers a vastly better harmonic approximation while being very easy to build in a DAW.
+My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as a tad crude. Yes, it's a god-tier edo, but it's the absolute bare minimum.
-EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach microtonality, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.
+EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach xenharmonic, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.
+I don't generally do microtonality; that is, directly using very small steps melodically or harmonically. No. I find that yucky. I do xenharmony, however. Easy JI xenharmony. All of 4:5:6 and 10:12:15 and 7:9:11 and 8:10:13 and 10:13:15, plus all the scales.
 == Interests ==