User:Overthink/EDO impressions: Difference between revisions
Created page with "== Introduction == As of now, EDO impressions are mostly melodic rather than harmonic. == EDO Impressions == Note: They are by no means final! 12: TBA 17: The diatonic scale has a septimal flavor to it, with major thirds sounding nothing like 12edo ones. The minor second is the perfect size melodically, though it may take a while to get used to it. 19: Due to the flat tendency of the system, melody seems to have a feeling that is hard to describe, that you can't repl..." |
→EDO Impressions: added 12 and 22 |
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Note: They are by no means final! | Note: They are by no means final! | ||
12: | 12: We've all heard this system thousands of times before. | ||
17: The diatonic scale has a septimal flavor to it, with major thirds sounding nothing like 12edo ones. The minor second is the perfect size melodically, though it may take a while to get used to it. | 17: The diatonic scale has a septimal flavor to it, with major thirds sounding nothing like 12edo ones. The minor second is the perfect size melodically, though it may take a while to get used to it. | ||
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19: Due to the flat tendency of the system, melody seems to have a feeling that is hard to describe, that you can't replicate with 12edo. So far my biggest issue is that the minor seconds are too wide. | 19: Due to the flat tendency of the system, melody seems to have a feeling that is hard to describe, that you can't replicate with 12edo. So far my biggest issue is that the minor seconds are too wide. | ||
22: | 22: The diatonic scale sounds even brighter than in 17, with thirds and sixths having a more obvious septimal flavor. Strangely, I do not feel like the diatonic semitone is too small, though I have made very little pieces to test it in various aspects, so I may change my mind. | ||
31: TBA | 31: TBA | ||
Revision as of 04:55, 27 September 2025
Introduction
As of now, EDO impressions are mostly melodic rather than harmonic.
EDO Impressions
Note: They are by no means final!
12: We've all heard this system thousands of times before.
17: The diatonic scale has a septimal flavor to it, with major thirds sounding nothing like 12edo ones. The minor second is the perfect size melodically, though it may take a while to get used to it.
19: Due to the flat tendency of the system, melody seems to have a feeling that is hard to describe, that you can't replicate with 12edo. So far my biggest issue is that the minor seconds are too wide.
22: The diatonic scale sounds even brighter than in 17, with thirds and sixths having a more obvious septimal flavor. Strangely, I do not feel like the diatonic semitone is too small, though I have made very little pieces to test it in various aspects, so I may change my mind.
31: TBA
41: Chords are quite consonant, and this system seems to do well in approximating up to the 11-limit. It is a bit complex, however.
53: TBA
72: TBA