User:Eboone/EDO Impressions: Difference between revisions

* 20-29edo — '''Large Diesitonal''' (41.38-60¢)

* 30-39edo — '''Small Diesitonal''' (30.77-40¢)

This is the first edo with a perfect fifth, but it's pretty sharp, coming in at 720¢ (18.04¢ sharp of [[3/2]]). This means 5edo works best in timbres with quick decay, like a marimba, so that the dissonance of the fifth is softened. Although, the sharp fifth when used melodically has quite a desirable "uplifting" quality to it that brings it out amidst the texture of the rest of the scale. This edo also features [[Interseptimal interval|interseptimal intervals]], giving melodies an "open" quality. It's a bit reminiscent of the minor pentatonic scale of 12edo, making it quite familiar to unaccustomed ears, but still with a tang of xen. Overall, this is a fun edo to work in, it's just that it suffers from the same problem that all very small edos have; there just aren't enough notes. It isn't a very versatile edo, so you usually have to rely on nontonal musical factors such as rhythm, dynamics, and form to create an interesting piece.

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.

== Large Diesitonal ==

== Small Diesitonal ==