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

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* 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. 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 strictly 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 forget about it and focus on the musical contents instead. S-tier.

* 12 – 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.

* 13 – Every other step of 26edo. Like 11edo, quintal harmony can be used. Unlike 11edo, 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. B-tier.

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* 17 – This edo contains an impressive diatonic scale which is nice for both melody and harmony. Semiquartal harmony, that is using the contrast between 7/4 and 12/7 as the basis of tonality, works exceptionally well in this system. S-tier.

* 18 – Potentially useful as every other step of 36edo. D-tier.

* 19 – This edo is where my microtonal journey began. Extremely versatile yet friendly to beginners. Using it as a tuning of meantone, the tuning profile is sort of opposite to 12edo, but with seven more pitch classes, the expressive possibility explodes. Presence of an exact hemitwelfth sets it apart from many other meantone edos. S-tier.

* 19 – This edo is where my microtonal journey began. Extremely versatile yet friendly to beginners. Using it as a tuning of meantone, the tuning profile is sort of opposite to 12edo, but with seven more pitch classes, the expressive possibility explodes. Presence of an exact hemitwelfth sets it apart from many other meantone edos. Certainly try octave stretch. It solves the intonational problem to a large extent. S-tier.

* 20 – 15edo but worse. F-tier.

* 21 – 14edo but worse. F-tier.

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* 48 – More appropriate as an interval category scheme than anything else. C-tier.

* 50 – Close to 2/7-comma meantone so it has a niche. Has the same problem as 45edo, though less severe. C-tier.

* 51 – 17edo with a major third from the augmented temperament, which can be a useful combo. Otherwise it has little tone efficiency. C-tier.

…

* 53 – The third essential comma-level edo. This one is kinda overrated. The best thing about it is the distinction of 15/13 and 13/10 from nearby septimal intervals, which neither 41- nor 46edo does. What bugs me is that the fifth feels undertempered for pretty much every purpose, and while the 5-limit approximation is praiseworthy the rest deserves more love. Compared to 41- or 46edo, it feels slack and doesn't convey a sense of tightly packed well-compromisedness. B-tier.

* 55 – This edo is out of the optimal range of meantone. Septimal meantone feels dumb here since we know 43edo is sharp enough. It can be used for mohaha, but that feels so similar to 24edo that I'd just go with the latter. D-tier.

* 56 – A hemicommtic edo with a rather messed-up tuning profile. Nothing notable about it. D-tier.

…

* 58 – The fourth essential comma-level edo. Being the first edo with full 11-odd-limit distinction, this one is easily adorable. Whereas 41edo tunes the fifth to 24 steps, this edo tunes the fourth to 24 steps, and the implication is its 2.3.5.7.13.29 subgroup is analogous to 41edo's 2.3.5.7.11.19 subgroup. This edo is best as a 2.3.5.7.11.13.29-subgroup system, but it has more to offer. Specifically, the harmonics 19 and 23 in the 58hi val are surprisingly convincing, and although the 17 doesn't blend quite well it at least looks good on paper. Everything considered, it is virtually the first full 23-limit system. All that bugs me is the minor fact that 11/8 and 7/5 are tuned only one comma apart. A-tier.

* 60 – This edo has a particularly problematic fifth, in that it closes after twelve steps, tempering out the Pythagorean comma. As the first thing I leave meantone is to look for a fifth that leads to a positive Pythagorean comma, this edo is clearly not my thing. C-tier.

* 62 – The ultimate 23-limit meantone tuning. It re-tunes harmonics 13, 17, 19, and 23 for 31edo. I find these additions to 31edo's 11-limit very favorable. A-tier.

* 63 – Similar to 56edo, nothing notable about it. D-tier.

…

@@ Line 36: / Line 36: @@
 * 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. 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 strictly 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 forget about it and focus on the musical contents instead. S-tier.
+* 12 – 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.
+* 13 – Every other step of 26edo. Like 11edo, quintal harmony can be used. Unlike 11edo, 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. B-tier.
@@ Line 45: / Line 45: @@
 * 17 – This edo contains an impressive diatonic scale which is nice for both melody and harmony. Semiquartal harmony, that is using the contrast between 7/4 and 12/7 as the basis of tonality, works exceptionally well in this system. S-tier.
 * 18 – Potentially useful as every other step of 36edo. D-tier.
-* 19 – This edo is where my microtonal journey began. Extremely versatile yet friendly to beginners. Using it as a tuning of meantone, the tuning profile is sort of opposite to 12edo, but with seven more pitch classes, the expressive possibility explodes. Presence of an exact hemitwelfth sets it apart from many other meantone edos. S-tier.
+* 19 – This edo is where my microtonal journey began. Extremely versatile yet friendly to beginners. Using it as a tuning of meantone, the tuning profile is sort of opposite to 12edo, but with seven more pitch classes, the expressive possibility explodes. Presence of an exact hemitwelfth sets it apart from many other meantone edos. Certainly try octave stretch. It solves the intonational problem to a large extent. S-tier.
 * 20 – 15edo but worse. F-tier.
 * 21 – 14edo but worse. F-tier.
@@ Line 82: / Line 82: @@
 * 48 – More appropriate as an interval category scheme than anything else. C-tier.
 * 50 – Close to 2/7-comma meantone so it has a niche. Has the same problem as 45edo, though less severe. C-tier.
+* 51 – 17edo with a major third from the augmented temperament, which can be a useful combo. Otherwise it has little tone efficiency. C-tier.
-…
 * 53 – The third essential comma-level edo. This one is kinda overrated. The best thing about it is the distinction of 15/13 and 13/10 from nearby septimal intervals, which neither 41- nor 46edo does. What bugs me is that the fifth feels undertempered for pretty much every purpose, and while the 5-limit approximation is praiseworthy the rest deserves more love. Compared to 41- or 46edo, it feels slack and doesn't convey a sense of tightly packed well-compromisedness. B-tier.
 * 55 – This edo is out of the optimal range of meantone. Septimal meantone feels dumb here since we know 43edo is sharp enough. It can be used for mohaha, but that feels so similar to 24edo that I'd just go with the latter. D-tier.
+* 56 – A hemicommtic edo with a rather messed-up tuning profile. Nothing notable about it. D-tier.
-…
 * 58 – The fourth essential comma-level edo. Being the first edo with full 11-odd-limit distinction, this one is easily adorable. Whereas 41edo tunes the fifth to 24 steps, this edo tunes the fourth to 24 steps, and the implication is its 2.3.5.7.13.29 subgroup is analogous to 41edo's 2.3.5.7.11.19 subgroup. This edo is best as a 2.3.5.7.11.13.29-subgroup system, but it has more to offer. Specifically, the harmonics 19 and 23 in the 58hi val are surprisingly convincing, and although the 17 doesn't blend quite well it at least looks good on paper. Everything considered, it is virtually the first full 23-limit system. All that bugs me is the minor fact that 11/8 and 7/5 are tuned only one comma apart. A-tier.
 * 60 – This edo has a particularly problematic fifth, in that it closes after twelve steps, tempering out the Pythagorean comma. As the first thing I leave meantone is to look for a fifth that leads to a positive Pythagorean comma, this edo is clearly not my thing. C-tier.
 * 62 – The ultimate 23-limit meantone tuning. It re-tunes harmonics 13, 17, 19, and 23 for 31edo. I find these additions to 31edo's 11-limit very favorable. A-tier.
+* 63 – Similar to 56edo, nothing notable about it. D-tier.
 …