EDO: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

This is an imported revision from Wikispaces. The revision metadata is included below for reference:

: This revision was by author [[User:~~genewardsmith~~|~~genewardsmith~~]] and made on <tt>2011-07-17 00:01:56 UTC</tt>.

: This revision was by author [[User:xenjacob|xenjacob]] and made on <tt>2011-07-17 15:30:56 UTC</tt>.

: The original revision id was <tt>~~241627691~~</tt>.

: The original revision id was <tt>241674189</tt>.

: The revision comment was: <tt></tt>

The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.

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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'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 (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31, 41, 43, 46 and 53. All of these can be notated with some variant on the A-G "circle of fifths" notation, while other EDOs, including 24, 34 and 36, involve more than one such circle.

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 (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31, 41, 43, 46 and 53. All of these can be notated with some variant on the [[Alphabetic Notations|A-G "circle of fifths" notation]], while other EDOs, including 24, 34 and 36, involve more than one such circle.

If you are an avid seeker of totally unusual sounds that have next-to-no connection with the common practice, you might like 11, 13, 14, 15, 16, 18, 21, 23 or 25.

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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'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 (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31, 41, 43, 46 and 53. All of these can be notated with some variant on the A-G &quot;circle of fifths&quot; notation, while other EDOs, including 24, 34 and 36, involve more than one such circle.

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 (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31, 41, 43, 46 and 53. All of these can be notated with some variant on the <a class="wiki_link" href="/Alphabetic%20Notations">A-G &quot;circle of fifths&quot; notation</a>, while other EDOs, including 24, 34 and 36, involve more than one such circle.

If you are an avid seeker of totally unusual sounds that have next-to-no connection with the common practice, you might like 11, 13, 14, 15, 16, 18, 21, 23 or 25.

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2011-07-17 00:01:56 UTC</tt>.<br>
+: This revision was by author [[User:xenjacob|xenjacob]] and made on <tt>2011-07-17 15:30:56 UTC</tt>.<br>
-: The original revision id was <tt>241627691</tt>.<br>
+: The original revision id was <tt>241674189</tt>.<br>
 : The revision comment was: <tt></tt><br>
 The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
@@ Line 24: / Line 24: @@
 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 (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31, 41, 43, 46 and 53. All of these can be notated with some variant on the A-G "circle of fifths" notation, while other EDOs, including 24, 34 and 36, involve more than one such circle.
+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 (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31, 41, 43, 46 and 53. All of these can be notated with some variant on the [[Alphabetic Notations|A-G "circle of fifths" notation]], while other EDOs, including 24, 34 and 36, involve more than one such circle.
 If you are an avid seeker of totally unusual sounds that have next-to-no connection with the common practice, you might like 11, 13, 14, 15, 16, 18, 21, 23 or 25.
@@ Line 100: / Line 100: @@
 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.&lt;br /&gt;
 &lt;br /&gt;
-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 (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31, 41, 43, 46 and 53. All of these can be notated with some variant on the A-G &amp;quot;circle of fifths&amp;quot; notation, while other EDOs, including 24, 34 and 36, involve more than one such circle.&lt;br /&gt;
+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 (the perfect 5th) can be rewarding. These include 17, 19, 22, 29, 31, 41, 43, 46 and 53. All of these can be notated with some variant on the &lt;a class="wiki_link" href="/Alphabetic%20Notations"&gt;A-G &amp;quot;circle of fifths&amp;quot; notation&lt;/a&gt;, while other EDOs, including 24, 34 and 36, involve more than one such circle.&lt;br /&gt;
 &lt;br /&gt;
 If you are an avid seeker of totally unusual sounds that have next-to-no connection with the common practice, you might like 11, 13, 14, 15, 16, 18, 21, 23 or 25.&lt;br /&gt;