EDO: Difference between revisions

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If you are interested in exploring the unique merits and challenges of each EDO, irrespective of any desire to approximate Just intonation (or any other a priori musical goal), starting at the bottom and working your way up can be a most illuminating exercise.

If you're a classically-trained musician and you'd like to start with some EDOs that have some relationship to common-practice tonal music, starting with reasonably-low EDOs that give a good approximation to [[3/2]] (the perfect 5th) can be rewarding. These include {{EDOs| 12, 17, 19, 22, 26, 29, 31~~, 33~~, 39, 41, 43, 45, 46, 49, 50, and 53 }}. All of these can be notated with some variant on the [[Circle-of-fifths notation|A-G "circle of fifths" notation]], while other EDOs, including {{EDOs| 24, 34, 36, 38, 44, 48, or 51 }} involve more than one such circle.

If you're a classically-trained musician and you'd like to start with some EDOs that have some relationship to common-practice tonal music, starting with reasonably-low EDOs that give a good approximation to [[3/2]] (the perfect 5th) can be rewarding. These include {{EDOs| 12, 17, 19, 22, 26, 27, 29, 31, 39, 41, 43, 45, 46, 49, 50, and 53 }}. All of these can be notated with some variant on the [[Circle-of-fifths notation|A-G "circle of fifths" notation]], while other EDOs, including {{EDOs| 24, 34, 36, 38, 44, 48, or 51 }} involve more than one such circle.

Some EDOs, such as {{EDOs| 26, 27, 32, 33, or 37 }} have fifths which are reasonably good but quite audibly not just. Other EDOs, such as {{EDOs| 11, 13, 14, 15, 16, 18, 20, 21, 23, or 25 }}, are of interest to the avid seeker of totally unusual sounds that have next-to-no connection with the common practice.

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 If you are interested in exploring the unique merits and challenges of each EDO, irrespective of any desire to approximate Just intonation (or any other a priori musical goal), starting at the bottom and working your way up can be a most illuminating exercise.
-If you're a classically-trained musician and you'd like to start with some EDOs that have some relationship to common-practice tonal music, starting with reasonably-low EDOs that give a good approximation to [[3/2]] (the perfect 5th) can be rewarding. These include {{EDOs| 12, 17, 19, 22, 26, 29, 31, 33, 39, 41, 43, 45, 46, 49, 50, and 53 }}. All of these can be notated with some variant on the [[Circle-of-fifths notation|A-G "circle of fifths" notation]], while other EDOs, including {{EDOs| 24, 34, 36, 38, 44, 48, or 51 }} involve more than one such circle.
+If you're a classically-trained musician and you'd like to start with some EDOs that have some relationship to common-practice tonal music, starting with reasonably-low EDOs that give a good approximation to [[3/2]] (the perfect 5th) can be rewarding. These include {{EDOs| 12, 17, 19, 22, 26, 27, 29, 31, 39, 41, 43, 45, 46, 49, 50, and 53 }}. All of these can be notated with some variant on the [[Circle-of-fifths notation|A-G "circle of fifths" notation]], while other EDOs, including {{EDOs| 24, 34, 36, 38, 44, 48, or 51 }} involve more than one such circle.
 Some EDOs, such as {{EDOs| 26, 27, 32, 33, or 37 }} have fifths which are reasonably good but quite audibly not just. Other EDOs, such as {{EDOs| 11, 13, 14, 15, 16, 18, 20, 21, 23, or 25 }}, are of interest to the avid seeker of totally unusual sounds that have next-to-no connection with the common practice.