User:Eboone/EDO Impressions: Difference between revisions

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There are many pieces that make use of the whole tone scale, but very few that exist strictly in 6edo. [[wikipedia:Claude_Debussy|Claude Debussy]] is well known for his use of the scale, and it's 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. They don't really sound dreamy, which is the sound that I feel is most well suited for this edo, but they are actually able to guide the listener on a comprehensive harmonic journey which is certainly no easy task.

6edo is the first edo to contain a dominant 7th chord, which would be more interesting if there were a perfect fifth, but at least you can resolve it through the back door (up a whole step). In fact, that's really one of the only ways you can make satisfying chord progressions in this edo. The arguably more infamous Mario cadence (♭VI-♭VII-I) is ever-present here, as it is, in my opinion, the most satisfying progression that exists in this edo. So, if you really wanted to, you could create a Mario-style fanfare using just the whole-tone scale, but deliberately avoiding the perfect fifth in such a style would be~~... strange~~.

6edo is the first edo to contain a dominant 7th chord, which would be more interesting if there were a perfect fifth, but at least you can resolve it through the back door (up a whole step). In fact, that's really one of the only ways you can make satisfying chord progressions in this edo. The arguably more infamous Mario cadence (♭VI-♭VII-I) is ever-present here, as it is, in my opinion, the most satisfying progression that exists in this edo. So, if you really wanted to, you could create a Mario-style fanfare using just the whole-tone scale, but deliberately avoiding the perfect fifth in such a style would be uncharacteristic.

Anyway, it's just the whole-tone scale. I can't reasonably put it in F tier with the rest of the 12edo subsets, since it is an actual scale rather than just an interval or chord, but there's still only one sound I find this edo to be useful for. Not very versatile in the slightest, especially in isolation.

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 There are many pieces that make use of the whole tone scale, but very few that exist strictly in 6edo. [[wikipedia:Claude_Debussy|Claude Debussy]] is well known for his use of the scale, and it's 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. They don't really sound dreamy, which is the sound that I feel is most well suited for this edo, but they are actually able to guide the listener on a comprehensive harmonic journey which is certainly no easy task.
-edo is the first edo to contain a dominant 7th chord, which would be more interesting if there were a perfect fifth, but at least you can resolve it through the back door (up a whole step). In fact, that's really one of the only ways you can make satisfying chord progressions in this edo. The arguably more infamous Mario cadence (♭VI-♭VII-I) is ever-present here, as it is, in my opinion, the most satisfying progression that exists in this edo. So, if you really wanted to, you could create a Mario-style fanfare using just the whole-tone scale, but deliberately avoiding the perfect fifth in such a style would be... strange.
+edo is the first edo to contain a dominant 7th chord, which would be more interesting if there were a perfect fifth, but at least you can resolve it through the back door (up a whole step). In fact, that's really one of the only ways you can make satisfying chord progressions in this edo. The arguably more infamous Mario cadence (♭VI-♭VII-I) is ever-present here, as it is, in my opinion, the most satisfying progression that exists in this edo. So, if you really wanted to, you could create a Mario-style fanfare using just the whole-tone scale, but deliberately avoiding the perfect fifth in such a style would be uncharacteristic.
 Anyway, it's just the whole-tone scale. I can't reasonably put it in F tier with the rest of the 12edo subsets, since it is an actual scale rather than just an interval or chord, but there's still only one sound I find this edo to be useful for. Not very versatile in the slightest, especially in isolation.