Collection of EDO impressions: Difference between revisions

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|[[4edo]]

|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 of 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.

|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.

|Elemental diminished type tuning. Fun for a minute or two, boring after that. Sounds diminished no matter what you play.

|Diminished chord. It, surprisingly, has interesting melodic movement despite only being four notes.

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 |-
 |[[4edo]]
-|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 of 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.
+|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.
 |Elemental diminished type tuning.  Fun for a minute or two, boring after that.  Sounds diminished no matter what you play.
 |Diminished chord. It, surprisingly, has interesting melodic movement despite only being four notes.