User:Eboone/EDO Impressions: Difference between revisions

Line 48:

''Tier: '''C-'''''

Of the subsets of 12edo, I'd say this is the most interesting because it contains a whole tone. There are many pieces that make use of the whole tone scale, but very few that strictly exist in 6edo. [[wikipedia:Claude_Debussy|Claude Debussy]] is well known for his use of ~~this~~ scale~~. Overall~~, ~~this~~ is a very interesting color to use while working in 6n-edos, but a very limiting scale to use in isolation. The best 6edo pieces I could find are the prelude and invention from [[Aaron Andrew Hunt]]'s "[https://aaronandrewhunt.bandcamp.com/album/the-equal-tempered-keyboard The Equal Tempered Keyboard]," and honestly they are pretty interesting.

Of the subsets of 12edo, I'd say this is the most interesting because it contains a whole tone. There are many pieces that make use of the whole tone scale, but very few that strictly exist in 6edo. [[wikipedia:Claude_Debussy|Claude Debussy]] is well known for his use of the scale, and it's is a very interesting color to use while working in 6n-edos, but a very limiting scale to use in isolation. The best 6edo pieces I could find are the prelude and invention from [[Aaron Andrew Hunt]]'s "[https://aaronandrewhunt.bandcamp.com/album/the-equal-tempered-keyboard The Equal Tempered Keyboard]," and honestly they are pretty interesting for what they are.

=== [[7edo]] ===

''Tier: '''A'''''

This is the first edo with a perfect fifth and a third. The fifth is pretty flat, coming in at 685.71¢ (16.25¢ flat of 3/2), and the third is a supraminor third of 342.86¢. It's a bit reminiscent of the dorian scale of 12edo, but not really. The 2nd, 3rd, 6th, and 7th are all neutral, so this edo has a very distinct ~~(and very~~ xen) sound. It may seem quite limiting to only have one third, but honestly this is a very fun edo to work in. Quartal and quintal structures have a distinct "underwater" quality to them, which I really like. Overall, a very nice edo and one that is trivially easy to notate.

This is the first edo with a perfect fifth and a third. The fifth is pretty flat, coming in at 685.71¢ (16.25¢ flat of 3/2), and the third is a supraminor third of 342.86¢. It's a bit reminiscent of the dorian scale of 12edo, but not really. The 2nd, 3rd, 6th, and 7th are all neutral, so this edo has a very distinct xen sound. It may seem quite limiting to only have one third, but honestly this is a very fun edo to work in. Quartal and quintal structures have a distinct "underwater" quality to them, which I really like. Overall, a very nice edo and one that is trivially easy to notate.

=== [[8edo]] ===

Line 63:

''Tier: '''B-'''''

This edo, while I put it in low B tier, is actually a very fun edo. It is, what most people would say, the first edo with 2 flavors of thirds, featuring the familiar 400¢ major third because it's divisible by 3, but also a scarily close approximation of 7/6. In fact, this edo approximates many septimal intervals down to the decimal point, which is quite strange, but definitely contributes to ~~the~~ sound ~~of this tuning~~. The fifth is heinously flat (over 30¢ flat of 3/2), but I've found that even this fifth can be softened via the use of a honky-tonk piano timbre. The distinct septimal resonance of the subminor third juxtaposed with the abhorrently flat fifth is an almost ineffable combination, but one that creates some of the most beautiful harmonies. The only reason I put this temperament so low is because the fifth is so flat, so it really is pretty difficult to listen to if you're not using a timbre that is literally out of tune. Plus, there are other edos that support [[Mavila]] with much better fifths. Overall, while the tuning isn't very versatile, the sounds it makes are utterly phantasmagoric, and I highly recommend you try this temperament in a harmonic context.

This edo, while I put it in low B tier, is actually a very fun edo. It is, what most people would say, the first edo with 2 flavors of thirds, featuring the familiar 400¢ major third because it's divisible by 3, but also a scarily close approximation of 7/6. In fact, this edo approximates many septimal intervals down to the decimal point, which is quite strange, but definitely contributes to its sound. The fifth is heinously flat (over 30¢ flat of 3/2), but I've found that even this fifth can be softened via the use of a honky-tonk piano timbre. The distinct septimal resonance of the subminor third juxtaposed with the abhorrently flat fifth is an almost ineffable combination, but one that creates some of the most beautiful harmonies. The only reason I put this temperament so low is because the fifth is so flat, so it really is pretty difficult to listen to if you're not using a timbre that is literally out of tune. Plus, there are other edos that support [[Mavila]] with much better fifths. Overall, while the tuning isn't very versatile, the sounds it makes are utterly phantasmagoric, and I highly recommend you try this temperament in a harmonic context.

== Semitonal ==

@@ Line 48: / Line 48: @@
 ''Tier: '''C-'''''
-Of the subsets of 12edo, I'd say this is the most interesting because it contains a whole tone. There are many pieces that make use of the whole tone scale, but very few that strictly exist in 6edo. [[wikipedia:Claude_Debussy|Claude Debussy]] is well known for his use of this scale. Overall, this is a very interesting color to use while working in 6n-edos, but a very limiting scale to use in isolation. The best 6edo pieces I could find are the prelude and invention from [[Aaron Andrew Hunt]]'s "[https://aaronandrewhunt.bandcamp.com/album/the-equal-tempered-keyboard The Equal Tempered Keyboard]," and honestly they are pretty interesting.
+Of the subsets of 12edo, I'd say this is the most interesting because it contains a whole tone. There are many pieces that make use of the whole tone scale, but very few that strictly exist in 6edo. [[wikipedia:Claude_Debussy|Claude Debussy]] is well known for his use of the scale, and it's is a very interesting color to use while working in 6n-edos, but a very limiting scale to use in isolation. The best 6edo pieces I could find are the prelude and invention from [[Aaron Andrew Hunt]]'s "[https://aaronandrewhunt.bandcamp.com/album/the-equal-tempered-keyboard The Equal Tempered Keyboard]," and honestly they are pretty interesting for what they are.
 === [[7edo]] ===
 ''Tier: '''A'''''
-This is the first edo with a perfect fifth and a third. The fifth is pretty flat, coming in at 685.71¢ (16.25¢ flat of 3/2), and the third is a supraminor third of 342.86¢. It's a bit reminiscent of the dorian scale of 12edo, but not really. The 2nd, 3rd, 6th, and 7th are all neutral, so this edo has a very distinct (and very xen) sound. It may seem quite limiting to only have one third, but honestly this is a very fun edo to work in. Quartal and quintal structures have a distinct "underwater" quality to them, which I really like. Overall, a very nice edo and one that is trivially easy to notate.
+This is the first edo with a perfect fifth and a third. The fifth is pretty flat, coming in at 685.71¢ (16.25¢ flat of 3/2), and the third is a supraminor third of 342.86¢. It's a bit reminiscent of the dorian scale of 12edo, but not really. The 2nd, 3rd, 6th, and 7th are all neutral, so this edo has a very distinct xen sound. It may seem quite limiting to only have one third, but honestly this is a very fun edo to work in. Quartal and quintal structures have a distinct "underwater" quality to them, which I really like. Overall, a very nice edo and one that is trivially easy to notate.
 === [[8edo]] ===
@@ Line 63: / Line 63: @@
 ''Tier: '''B-'''''
-This edo, while I put it in low B tier, is actually a very fun edo. It is, what most people would say, the first edo with 2 flavors of thirds, featuring the familiar 400¢ major third because it's divisible by 3, but also a scarily close approximation of 7/6. In fact, this edo approximates many septimal intervals down to the decimal point, which is quite strange, but definitely contributes to the sound of this tuning. The fifth is heinously flat (over 30¢ flat of 3/2), but I've found that even this fifth can be softened via the use of a honky-tonk piano timbre. The distinct septimal resonance of the subminor third juxtaposed with the abhorrently flat fifth is an almost ineffable combination, but one that creates some of the most beautiful harmonies. The only reason I put this temperament so low is because the fifth is so flat, so it really is pretty difficult to listen to if you're not using a timbre that is literally out of tune. Plus, there are other edos that support [[Mavila]] with much better fifths. Overall, while the tuning isn't very versatile, the sounds it makes are utterly phantasmagoric, and I highly recommend you try this temperament in a harmonic context.
+This edo, while I put it in low B tier, is actually a very fun edo. It is, what most people would say, the first edo with 2 flavors of thirds, featuring the familiar 400¢ major third because it's divisible by 3, but also a scarily close approximation of 7/6. In fact, this edo approximates many septimal intervals down to the decimal point, which is quite strange, but definitely contributes to its sound. The fifth is heinously flat (over 30¢ flat of 3/2), but I've found that even this fifth can be softened via the use of a honky-tonk piano timbre. The distinct septimal resonance of the subminor third juxtaposed with the abhorrently flat fifth is an almost ineffable combination, but one that creates some of the most beautiful harmonies. The only reason I put this temperament so low is because the fifth is so flat, so it really is pretty difficult to listen to if you're not using a timbre that is literally out of tune. Plus, there are other edos that support [[Mavila]] with much better fifths. Overall, while the tuning isn't very versatile, the sounds it makes are utterly phantasmagoric, and I highly recommend you try this temperament in a harmonic context.
 == Semitonal ==