User:FloraC/Fumica's edo impressions: Difference between revisions
No edit summary |
No edit summary |
||
| Line 10: | Line 10: | ||
* 9 – Similar to 8edo, its harmonic resource is quite sparse. Treat it as augmented chords. Good news is there are three. | * 9 – Similar to 8edo, its harmonic resource is quite sparse. Treat it as augmented chords. Good news is there are three. | ||
== Semitone size == | == Semitone-size == | ||
* 10 – The first serious edo. Expressivity in the classical and/or septimal chords are neutralized, but harmonic 13 is accurately approximated and offers a critical advantage over 12edo. Imo the best edo for serialism. | * 10 – The first serious edo. Expressivity in the classical and/or septimal chords are neutralized, but harmonic 13 is accurately approximated and offers a critical advantage over 12edo. Imo the best edo for serialism. | ||
* 11 – Every other step of 22edo. Quite interesting as it hits the 2.9.15.7.11 subgroup, and thus allows a form of quintal harmony. Actually my favorite nondiatonic edo. | * 11 – Every other step of 22edo. Quite interesting as it hits the 2.9.15.7.11 subgroup, and thus allows a form of quintal harmony. Actually my favorite nondiatonic edo. | ||
| Line 17: | Line 17: | ||
* 14 – I heard it too that it was the "most dissonant edo". The intonation surely has a lot of spice. Supports squares and godzilla, making it important in theory. Perhaps works better as an interval category scheme than as sound to be listened to. | * 14 – I heard it too that it was the "most dissonant edo". The intonation surely has a lot of spice. Supports squares and godzilla, making it important in theory. Perhaps works better as an interval category scheme than as sound to be listened to. | ||
== Subsemitone size == | == Subsemitone-size == | ||
* 15 – The error of the fifth is getting quite large for its step size, particularly if you compare it with 10edo. Either this or 10edo can be viewed as the opposite of 14edo, so I think of this as the direct competitor of 10edo. | * 15 – The error of the fifth is getting quite large for its step size, particularly if you compare it with 10edo. Either this or 10edo can be viewed as the opposite of 14edo, so I think of this as the direct competitor of 10edo. | ||
* 16 – Potentially useful as every other step of 32edo. Besides that, it has armodue, basically an extremely flat fifth that doesn't sound like the 3rd harmonic at all. "Fifthness" is useless if | * 16 – Potentially useful as every other step of 32edo. Besides that, it has armodue, basically an extremely flat fifth that doesn't sound like the 3rd harmonic at all. "Fifthness" is useless if for approximating the 3rd harmonic, so I'm afraid I don't consider this approach to have much value. | ||
* 17 – This edo contains an impressive diatonic scale which is nice for both melody and harmony. Semiquartal harmony, that is using the contrast between 7/4 and 12/7 as the basis of tonality, works exceptionally well in this system. | * 17 – This edo contains an impressive diatonic scale which is nice for both melody and harmony. Semiquartal harmony, that is using the contrast between 7/4 and 12/7 as the basis of tonality, works exceptionally well in this system. | ||
* 18 – Potentially useful as every other step of 36edo. | * 18 – Potentially useful as every other step of 36edo. | ||
| Line 25: | Line 25: | ||
* 20 – 15edo but worse. | * 20 – 15edo but worse. | ||
* 21 – 14edo but worse. | * 21 – 14edo but worse. | ||
* 22 – | * 22 – The least evil solution to porcupine and less so to superpyth. I happen to have experience working with porcupine and it felt quite alright, except that I often found myself struggling to combat its out-of-tune nature. | ||
* 23 – Potentially useful as every other step of 46edo. | * 23 – Potentially useful as every other step of 46edo. | ||
* 24 – This is kind of a normie's edo, but also the most accessible. Quartertones in my otherwise 12edo works often go unnoticed by the audience. A natural | * 24 – This is kind of a normie's edo, but also the most accessible. Quartertones in my otherwise 12edo works often go unnoticed by the audience. A natural next step of 12edo with a structurally beautiful 2.3.5.11.17.19 subgroup interpretation. | ||
* 25 – Potentially useful as every other step of 50edo. | * 25 – Potentially useful as every other step of 50edo. | ||
* 26 – Just as 19edo is the point separating meantone and flattone, this is the point separating flattone and a meantone extension that implies an even flatter fifth. Therefore it shares all the advantages of 12edo and 19edo, at least theoretically, that is if not for its poor intonation in the 5-limit. | * 26 – Just as 19edo is the point separating meantone and flattone, this is the point separating flattone and a meantone extension that implies an even flatter fifth. Therefore it shares all the advantages of 12edo and 19edo, at least theoretically, that is if not for its poor intonation in the 5-limit. | ||
== Diesis size == | == Diesis-size == | ||
* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of the harmonic 15, which is way too sharp for my taste. I prefer a flat tuning of 15 or at least no sharper than 12edo's, so as to improve its stability as a consonant major seventh. Other than that 27edo is pretty good. | * 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of the harmonic 15, which is way too sharp for my taste. I prefer a flat tuning of 15 or at least no sharper than 12edo's, so as to improve its stability as a consonant major seventh. Other than that 27edo is pretty good. | ||
* 28 – Potentially useful as every other step of 56edo. | * 28 – Potentially useful as every other step of 56edo. | ||
| Line 44: | Line 44: | ||
* 37 – Potentially useful as every other step of 74edo. Besides that, it has a good 2.5.7.11.13 subgroup interpretation, tho I have no idea how harmony in this subgroup is supposed to work. | * 37 – Potentially useful as every other step of 74edo. Besides that, it has a good 2.5.7.11.13 subgroup interpretation, tho I have no idea how harmony in this subgroup is supposed to work. | ||
* 38 – This is to 19edo what 24edo is to 12edo. On paper it adds decent approximation to harmonics 11, 17, and 19. In practice however, I never had a situation where I felt I needed these additional notes when working with 19edo. | * 38 – This is to 19edo what 24edo is to 12edo. On paper it adds decent approximation to harmonics 11, 17, and 19. In practice however, I never had a situation where I felt I needed these additional notes when working with 19edo. | ||
== Comma-size == | |||
Starting from here, all edos have at least one diatonic scale (35edo being the last nondiatonic edo). I'm only listing those which have a good fifth (relative error < 1/3). | |||
… | |||