User:FloraC/Fumica's edo impressions: Difference between revisions

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== 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. A-tier.

* 11 – Every other step of 22edo. ~~Quite interesting as it~~ hits 7, 9, 11, and 15, and ~~thus~~ allows a form of quintal harmony. ~~Actually~~ my favorite nondiatonic edo. B-tier.

* 11 – Every other step of 22edo. It hits harmonics 7, 9, 11, and 15, and that's quite something. The 9 allows a form of quintal harmony. The 15 has good voice-leading utility. Of course, those properties are but implications of it being next to 10- and 12edo, both of which have those and can do much more. It just happens they're enough to make 11edo my favorite nondiatonic edo. B-tier.

* 12 – A no-brainer. Fully laid-back, like a good font to an article – never to get in the way, never to show itself off. It disappears. It lets you focus on the contents. S-tier.

* 12 – A no-brainer. Fully laid-back, like a good font to an article – never to get in the way, never to show itself off. It disappears. It lets you forget about it and focus on the musical contents instead. S-tier.

* 13 – Every other step of 26edo. Like 11edo, quintal harmony can be used. The intonation sucks. D-tier.

* 14 – I heard it too that this 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. A-tier.

== Subsemitone-size ==

@@ Line 12: / Line 12: @@
 == 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. A-tier.
-* 11 – Every other step of 22edo. Quite interesting as it hits 7, 9, 11, and 15, and thus allows a form of quintal harmony. Actually my favorite nondiatonic edo. B-tier.
+* 11 – Every other step of 22edo. It hits harmonics 7, 9, 11, and 15, and that's quite something. The 9 allows a form of quintal harmony. The 15 has good voice-leading utility. Of course, those properties are but implications of it being next to 10- and 12edo, both of which have those and can do much more. It just happens they're enough to make 11edo my favorite nondiatonic edo. B-tier.
-* 12 – A no-brainer. Fully laid-back, like a good font to an article – never to get in the way, never to show itself off. It disappears. It lets you focus on the contents. S-tier.
+* 12 – A no-brainer. Fully laid-back, like a good font to an article – never to get in the way, never to show itself off. It disappears. It lets you forget about it and focus on the musical contents instead. S-tier.
 * 13 – Every other step of 26edo. Like 11edo, quintal harmony can be used. The intonation sucks. D-tier.
 * 14 – I heard it too that this 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. A-tier.
 == Subsemitone-size ==