EDO: Difference between revisions
Wikispaces>JosephRuhf **Imported revision 367089532 - Original comment: ** |
Wikispaces>genewardsmith **Imported revision 367102820 - Original comment: Reverted to Jun 13, 2012 12:34 pm: 23 is relatively prime to 39, so there** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User: | : This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2012-09-23 19:44:05 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>367102820</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt>Reverted to Jun 13, 2012 12:34 pm: 23 is relatively prime to 39, so there</tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
<h4>Original Wikitext content:</h4> | <h4>Original Wikitext content:</h4> | ||
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If you are interested in exploring the unique merits and challenges of each EDO, irrespective of any desire to approximate Just intonation (or any other a priori musical goal), starting at the bottom and working your way up can be a most illuminating exercise. | If you are interested in exploring the unique merits and challenges of each EDO, irrespective of any desire to approximate Just intonation (or any other a priori musical goal), starting at the bottom and working your way up can be a most illuminating exercise. | ||
If you're a classically-trained musician and you'd like to start with some EDOs that have some relationship to common-practice tonal music, starting with reasonably-low EDOs that give a good approximation to [[3_2|3/2]] (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31 | If you're a classically-trained musician and you'd like to start with some EDOs that have some relationship to common-practice tonal music, starting with reasonably-low EDOs that give a good approximation to [[3_2|3/2]] (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31, 41, 43, 46, 50 and 53. All of these can be notated with some variant on the [[Nominal-Accidental Chains#A-G%20circle-of-fifths%20notation|A-G "circle of fifths" notation]], while other EDOs, including 24, 34, 36, 38, 39, 44 or 51 involve more than one such circle. | ||
Some EDOs, such as 26, 27, 32, 33, or 37 have fifths which are reasonably good but quite audibly not just. Other EDOs, such as 11, 13, 14, 15, 16, 18, 20, 21, 23 or 25, are of interest to the avid seeker of totally unusual sounds that have next-to-no connection with the common practice. | Some EDOs, such as 26, 27, 32, 33, or 37 have fifths which are reasonably good but quite audibly not just. Other EDOs, such as 11, 13, 14, 15, 16, 18, 20, 21, 23 or 25, are of interest to the avid seeker of totally unusual sounds that have next-to-no connection with the common practice. | ||
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If you are interested in exploring the unique merits and challenges of each EDO, irrespective of any desire to approximate Just intonation (or any other a priori musical goal), starting at the bottom and working your way up can be a most illuminating exercise.<br /> | If you are interested in exploring the unique merits and challenges of each EDO, irrespective of any desire to approximate Just intonation (or any other a priori musical goal), starting at the bottom and working your way up can be a most illuminating exercise.<br /> | ||
<br /> | <br /> | ||
If you're a classically-trained musician and you'd like to start with some EDOs that have some relationship to common-practice tonal music, starting with reasonably-low EDOs that give a good approximation to <a class="wiki_link" href="/3_2">3/2</a> (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31 | If you're a classically-trained musician and you'd like to start with some EDOs that have some relationship to common-practice tonal music, starting with reasonably-low EDOs that give a good approximation to <a class="wiki_link" href="/3_2">3/2</a> (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31, 41, 43, 46, 50 and 53. All of these can be notated with some variant on the <a class="wiki_link" href="/Nominal-Accidental%20Chains#A-G%20circle-of-fifths%20notation">A-G &quot;circle of fifths&quot; notation</a>, while other EDOs, including 24, 34, 36, 38, 39, 44 or 51 involve more than one such circle.<br /> | ||
<br /> | <br /> | ||
Some EDOs, such as 26, 27, 32, 33, or 37 have fifths which are reasonably good but quite audibly not just. Other EDOs, such as 11, 13, 14, 15, 16, 18, 20, 21, 23 or 25, are of interest to the avid seeker of totally unusual sounds that have next-to-no connection with the common practice.<br /> | Some EDOs, such as 26, 27, 32, 33, or 37 have fifths which are reasonably good but quite audibly not just. Other EDOs, such as 11, 13, 14, 15, 16, 18, 20, 21, 23 or 25, are of interest to the avid seeker of totally unusual sounds that have next-to-no connection with the common practice.<br /> | ||