Mike's EDO impressions: Difference between revisions

Line 1:

<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:keenanpepper|keenanpepper]] and made on <tt>2012-06-16 00:02:41 UTC</tt>.

: This revision was by author [[User:keenanpepper|keenanpepper]] and made on <tt>2012-06-16 00:03:38 UTC</tt>.

: The original revision id was <tt>~~345747814~~</tt>.

: The original revision id was <tt>345747904</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.

Line 48:

14-EDO - has the whole "kloog" slash "kleeg" thing going on, and also has touch tone noises as intervals for you to try and categorize

15-EDO - has 5-limit harmony plus a 5 note circle of 3/2's, which is crazy in terms of "tonality," which would seem to be peripherally relevant

16-EDO - is notable for being the first EDO (to me) where the 3 step interval can sound like "a step" instead of "a leap." Example is machine: 3 3 1 3 3 3. Much like 3 3 1 3 3 3 1 in 17-EDO, machine[6] in 16-EDO has L/s = 3/1 but the 3-step interval still sounds like "a second." It sounds like 16-EDO is an "enharmonic" scale for machine[11], which I (sort of) perceive as the true "background" for 331333, much like I perceive 19-EDO as an enharmonic underpinning for meantone[12] or whatever.</pre></div>

16-EDO - is notable for being the first EDO (to me) where the 3 step interval can sound like "a step" instead of "a leap." Example is machine: 3 3 1 3 3 3. Much like 3 3 1 3 3 3 1 in 17-EDO, machine[6] in 16-EDO has L/s = 3/1 but the 3-step interval still sounds like "a second." It sounds like 16-EDO is an "enharmonic" scale for machine[11], which I (sort of) perceive as the true "background" for 331333, much like I perceive 19-EDO as an enharmonic underpinning for meantone[12] or whatever.

17-EDO - superpyth machine blah blah

18-EDO - has a really useful 10 note scale called "supersharp" which is 2 2 2 2 1 2 2 2 2 1, which has major/minor/diminished chords which are a bit sharp

19-EDO - needs to be in there for the above reason about enharmonic-sized EDOs in general, but also because learning to differentiate things like #4's and b5's is easy and attainable and a good "first step." I hear A# and Bb as different notes in 19-EDO now - the first fits into things like E lydian, the second fits into things like E diminished, etc. Then you can experiment with melodic diesis movements

22-EDO - in keeping with the above note about enharmonic EDOs, can be thought of as an enharmonic scale for something like porcupine, so that you can perceive a 15-note background but have better intonation - the same way you can perceive a 12-note background in 19 (meantone[12]) but have better intonation than 12. You can do the same with orwell and perceive an orwell[13]-note background, but have much better intonation for orwell than 13-EDO itself. There's other stuff too. Also has superpyth[7] which is good for revealing the diatonic scale in a different intonational context.

23-EDO - same as the above but with mavila and 16-EDO and some other stuff too.

24-EDO - allows you to take a sound you all intuitively know (the blues) and make it "real" and "tangible" and manipulate it to see what comes of it

25-EDO, dunno

26-EDO - has meantone but the intonation is bad. However, the minor sixths are really good 13/8's. Also, the half steps are 138 cents, which is pretty big - but they still function as leading tones and all that. This behavior is exacerbated in 33-EDO. Good for messing with your head and also revealing the diatonic scale in a different intonational context.</pre></div>

<h4>Original HTML content:</h4>

<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Mike's EDO impressions</title></head><body>Template shamelessly stolen from <a class="wiki_link" href="/Keenan%27s%20EDO%20impressions">Keenan's EDO impressions</a>. I reserve the right to change this at any time if I missed something.

Line 92:

Line 101:

14-EDO - has the whole &quot;kloog&quot; slash &quot;kleeg&quot; thing going on, and also has touch tone noises as intervals for you to try and categorize

15-EDO - has 5-limit harmony plus a 5 note circle of 3/2's, which is crazy in terms of &quot;tonality,&quot; which would seem to be peripherally relevant

16-EDO - is notable for being the first EDO (to me) where the 3 step interval can sound like &quot;a step&quot; instead of &quot;a leap.&quot; Example is machine: 3 3 1 3 3 3. Much like 3 3 1 3 3 3 1 in 17-EDO, machine[6] in 16-EDO has L/s = 3/1 but the 3-step interval still sounds like &quot;a second.&quot; It sounds like 16-EDO is an &quot;enharmonic&quot; scale for machine[11], which I (sort of) perceive as the true &quot;background&quot; for 331333, much like I perceive 19-EDO as an enharmonic underpinning for meantone[12] or whatever.</body></html></pre></div>

16-EDO - is notable for being the first EDO (to me) where the 3 step interval can sound like &quot;a step&quot; instead of &quot;a leap.&quot; Example is machine: 3 3 1 3 3 3. Much like 3 3 1 3 3 3 1 in 17-EDO, machine[6] in 16-EDO has L/s = 3/1 but the 3-step interval still sounds like &quot;a second.&quot; It sounds like 16-EDO is an &quot;enharmonic&quot; scale for machine[11], which I (sort of) perceive as the true &quot;background&quot; for 331333, much like I perceive 19-EDO as an enharmonic underpinning for meantone[12] or whatever.

17-EDO - superpyth machine blah blah

18-EDO - has a really useful 10 note scale called &quot;supersharp&quot; which is 2 2 2 2 1 2 2 2 2 1, which has major/minor/diminished chords which are a bit sharp

19-EDO - needs to be in there for the above reason about enharmonic-sized EDOs in general, but also because learning to differentiate things like #4's and b5's is easy and attainable and a good &quot;first step.&quot; I hear A# and Bb as different notes in 19-EDO now - the first fits into things like E lydian, the second fits into things like E diminished, etc. Then you can experiment with melodic diesis movements

22-EDO - in keeping with the above note about enharmonic EDOs, can be thought of as an enharmonic scale for something like porcupine, so that you can perceive a 15-note background but have better intonation - the same way you can perceive a 12-note background in 19 (meantone[12]) but have better intonation than 12. You can do the same with orwell and perceive an orwell[13]-note background, but have much better intonation for orwell than 13-EDO itself. There's other stuff too. Also has superpyth[7] which is good for revealing the diatonic scale in a different intonational context.

23-EDO - same as the above but with mavila and 16-EDO and some other stuff too.

24-EDO - allows you to take a sound you all intuitively know (the blues) and make it &quot;real&quot; and &quot;tangible&quot; and manipulate it to see what comes of it

25-EDO, dunno

26-EDO - has meantone but the intonation is bad. However, the minor sixths are really good 13/8's. Also, the half steps are 138 cents, which is pretty big - but they still function as leading tones and all that. This behavior is exacerbated in 33-EDO. Good for messing with your head and also revealing the diatonic scale in a different intonational context.</body></html></pre></div>

@@ 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:keenanpepper|keenanpepper]] and made on <tt>2012-06-16 00:02:41 UTC</tt>.<br>
+: This revision was by author [[User:keenanpepper|keenanpepper]] and made on <tt>2012-06-16 00:03:38 UTC</tt>.<br>
-: The original revision id was <tt>345747814</tt>.<br>
+: The original revision id was <tt>345747904</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 48: / Line 48: @@
 &lt;span class="commentBody"&gt; 14-EDO - has the whole "kloog" slash "kleeg" thing going on, and also has touch tone noises as intervals for you to try and categorize&lt;/span&gt;
 &lt;span class="commentBody"&gt; 15-EDO - has 5-limit harmony plus a 5 note circle of 3/2's, which is crazy in terms of "tonality," which would seem to be peripherally relevant&lt;/span&gt;
-&lt;span class="commentBody"&gt; 16-EDO - is notable for being the first EDO (to me) where the 3 step interval can sound like "a step" instead of "a leap." Example is machine: 3 3 1 3 3 3. Much like 3 3 1 3 3 3 1 in 17-EDO, machine[6] in 16-EDO has L/s = 3/1 but the 3-step interval still sounds like "a second." It sounds like 16-EDO is an "enharmonic" scale for machine[11], which I (sort of) perceive as the true "background" for 331333, much like I perceive 19-EDO as an enharmonic underpinning for meantone[12] or whatever.&lt;/span&gt;</pre></div>
+&lt;span class="commentBody"&gt; 16-EDO - is notable for being the first EDO (to me) where the 3 step interval can sound like "a step" instead of "a leap." Example is machine: 3 3 1 3 3 3. Much like 3 3 1 3 3 3 1 in 17-EDO, machine[6] in 16-EDO has L/s = 3/1 but the 3-step interval still sounds like "a second." It sounds like 16-EDO is an "enharmonic" scale for machine[11], which I (sort of) perceive as the true "background" for 331333, much like I perceive 19-EDO as an enharmonic underpinning for meantone[12] or whatever.&lt;/span&gt;
+&lt;span class="commentBody"&gt;17-EDO - superpyth machine blah blah&lt;/span&gt;
+&lt;span class="commentBody"&gt; 18-EDO - has a really useful 10 note scale called "supersharp" which is 2 2 2 2 1 2 2 2 2 1, which has major/minor/diminished chords which are a bit sharp&lt;/span&gt;
+&lt;span class="commentBody"&gt; 19-EDO - needs to be in there for the above reason about enharmonic-sized EDOs in general, but also because learning to differentiate things like #4's and b5's is easy and attainable and a good "first step." I hear A# and Bb as different notes in 19-EDO now - the first fits into things like E lydian, the second fits into things like E diminished, etc. Then you can experiment with melodic diesis movements&lt;/span&gt;
+&lt;span class="commentBody"&gt; 22-EDO - in keeping with the above note about enharmonic EDOs, can be thought of as an enharmonic scale for something like porcupine, so that you can perceive a 15-note background but have better intonation - the same way you can perceive a 12-note background in 19 (meantone[12]) but have better intonation than 12. You can do the same with orwell and perceive an orwell[13]-note background, but have much better intonation for orwell than 13-EDO itself. There's other stuff too. Also has superpyth[7] which is good for revealing the diatonic scale in a different intonational context.&lt;/span&gt;
+&lt;span class="commentBody"&gt; 23-EDO - same as the above but with mavila and 16-EDO and some other stuff too.&lt;/span&gt;
+&lt;span class="commentBody"&gt; 24-EDO - allows you to take a sound you all intuitively know (the blues) and make it "real" and "tangible" and manipulate it to see what comes of it&lt;/span&gt;
+&lt;span class="commentBody"&gt; 25-EDO, dunno&lt;/span&gt;
+&lt;span class="commentBody"&gt; 26-EDO - has meantone but the intonation is bad. However, the minor sixths are really good 13/8's. Also, the half steps are 138 cents, which is pretty big - but they still function as leading tones and all that. This behavior is exacerbated in 33-EDO. Good for messing with your head and also revealing the diatonic scale in a different intonational context.&lt;/span&gt;</pre></div>
 <h4>Original HTML content:</h4>
 <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html">&lt;html&gt;&lt;head&gt;&lt;title&gt;Mike's EDO impressions&lt;/title&gt;&lt;/head&gt;&lt;body&gt;Template shamelessly stolen from &lt;a class="wiki_link" href="/Keenan%27s%20EDO%20impressions"&gt;Keenan's EDO impressions&lt;/a&gt;. I reserve the right to change this at any time if I missed something.&lt;br /&gt;
@@ Line 92: / Line 101: @@
 &lt;span class="commentBody"&gt; 14-EDO - has the whole &amp;quot;kloog&amp;quot; slash &amp;quot;kleeg&amp;quot; thing going on, and also has touch tone noises as intervals for you to try and categorize&lt;/span&gt;&lt;br /&gt;
 &lt;span class="commentBody"&gt; 15-EDO - has 5-limit harmony plus a 5 note circle of 3/2's, which is crazy in terms of &amp;quot;tonality,&amp;quot; which would seem to be peripherally relevant&lt;/span&gt;&lt;br /&gt;
-&lt;span class="commentBody"&gt; 16-EDO - is notable for being the first EDO (to me) where the 3 step interval can sound like &amp;quot;a step&amp;quot; instead of &amp;quot;a leap.&amp;quot; Example is machine: 3 3 1 3 3 3. Much like 3 3 1 3 3 3 1 in 17-EDO, machine[6] in 16-EDO has L/s = 3/1 but the 3-step interval still sounds like &amp;quot;a second.&amp;quot; It sounds like 16-EDO is an &amp;quot;enharmonic&amp;quot; scale for machine[11], which I (sort of) perceive as the true &amp;quot;background&amp;quot; for 331333, much like I perceive 19-EDO as an enharmonic underpinning for meantone[12] or whatever.&lt;/span&gt;&lt;/body&gt;&lt;/html&gt;</pre></div>
+&lt;span class="commentBody"&gt; 16-EDO - is notable for being the first EDO (to me) where the 3 step interval can sound like &amp;quot;a step&amp;quot; instead of &amp;quot;a leap.&amp;quot; Example is machine: 3 3 1 3 3 3. Much like 3 3 1 3 3 3 1 in 17-EDO, machine[6] in 16-EDO has L/s = 3/1 but the 3-step interval still sounds like &amp;quot;a second.&amp;quot; It sounds like 16-EDO is an &amp;quot;enharmonic&amp;quot; scale for machine[11], which I (sort of) perceive as the true &amp;quot;background&amp;quot; for 331333, much like I perceive 19-EDO as an enharmonic underpinning for meantone[12] or whatever.&lt;/span&gt;&lt;br /&gt;
+&lt;br /&gt;
+&lt;span class="commentBody"&gt;17-EDO - superpyth machine blah blah&lt;/span&gt;&lt;br /&gt;
+&lt;span class="commentBody"&gt; 18-EDO - has a really useful 10 note scale called &amp;quot;supersharp&amp;quot; which is 2 2 2 2 1 2 2 2 2 1, which has major/minor/diminished chords which are a bit sharp&lt;/span&gt;&lt;br /&gt;
+&lt;span class="commentBody"&gt; 19-EDO - needs to be in there for the above reason about enharmonic-sized EDOs in general, but also because learning to differentiate things like #4's and b5's is easy and attainable and a good &amp;quot;first step.&amp;quot; I hear A# and Bb as different notes in 19-EDO now - the first fits into things like E lydian, the second fits into things like E diminished, etc. Then you can experiment with melodic diesis movements&lt;/span&gt;&lt;br /&gt;
+&lt;span class="commentBody"&gt; 22-EDO - in keeping with the above note about enharmonic EDOs, can be thought of as an enharmonic scale for something like porcupine, so that you can perceive a 15-note background but have better intonation - the same way you can perceive a 12-note background in 19 (meantone[12]) but have better intonation than 12. You can do the same with orwell and perceive an orwell[13]-note background, but have much better intonation for orwell than 13-EDO itself. There's other stuff too. Also has superpyth[7] which is good for revealing the diatonic scale in a different intonational context.&lt;/span&gt;&lt;br /&gt;
+&lt;span class="commentBody"&gt; 23-EDO - same as the above but with mavila and 16-EDO and some other stuff too.&lt;/span&gt;&lt;br /&gt;
+&lt;span class="commentBody"&gt; 24-EDO - allows you to take a sound you all intuitively know (the blues) and make it &amp;quot;real&amp;quot; and &amp;quot;tangible&amp;quot; and manipulate it to see what comes of it&lt;/span&gt;&lt;br /&gt;
+&lt;span class="commentBody"&gt; 25-EDO, dunno&lt;/span&gt;&lt;br /&gt;
+&lt;span class="commentBody"&gt; 26-EDO - has meantone but the intonation is bad. However, the minor sixths are really good 13/8's. Also, the half steps are 138 cents, which is pretty big - but they still function as leading tones and all that. This behavior is exacerbated in 33-EDO. Good for messing with your head and also revealing the diatonic scale in a different intonational context.&lt;/span&gt;&lt;/body&gt;&lt;/html&gt;</pre></div>