User:Eufalesio: Difference between revisions

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== Background ==

Just Intonation has irreversibly the way I hear music, and it has made my career inside my conservatory quite jarring; Classical repertoire (barring historicist interpretations) and the overwhelming majority of the ''contemporary classical'' music I was forced to listen, were wholly based in 12EDO, with 24EDO being the "utter maximum" of pitch deviation tolerable.

Just Intonation has irreversibly the way I hear music, and it has made my career inside my conservatory quite jarring; Classical repertoire (barring historicist interpretations) and the overwhelming majority of the ''contemporary classical'' music I was forced to listen, were wholly based in 12EDO, with 24EDO being the "utter maximum" of pitch deviation tolerable in these styles. Even 12edo was "too much" for some singers and players, who just barely hit the notes or had outrageously wide vibrato that made it impossible to tell what the note was in the first place.

== My view on microtonality ==

I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned (by virtue of being a "pythagorean tuning")

I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned (by virtue of being a "pythagorean tuning").

My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as too crude. It's a pythagorean tuning trying to masquerade as meantone. 72EDO offers a ~~much~~ better harmonic approximation while being very easy to build in a DAW.

My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as too crude. It's a pythagorean tuning, and I've become tired of people trying to masquerade as meantone. 72EDO offers a vastly better harmonic approximation while being very easy to build in a DAW.

EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach microtonality, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.

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* [[User:Eufalesio/Proposal to the Functional Just System]]

* [[User:Eufalesio/Eufa's JI voicing notation]]

* [[User:Eufalesio/Enumeration]]

The list will be expanded further as more articles are published.

@@ Line 4: / Line 4: @@
 == Background ==
-Just Intonation has irreversibly the way I hear music, and it has made my career inside my conservatory quite jarring; Classical repertoire (barring historicist interpretations) and the overwhelming majority of the ''contemporary classical'' music I was forced to listen, were wholly based in 12EDO, with 24EDO being the "utter maximum" of pitch deviation tolerable.
+Just Intonation has irreversibly the way I hear music, and it has made my career inside my conservatory quite jarring; Classical repertoire (barring historicist interpretations) and the overwhelming majority of the ''contemporary classical'' music I was forced to listen, were wholly based in 12EDO, with 24EDO being the "utter maximum" of pitch deviation tolerable in these styles. Even 12edo was "too much" for some singers and players, who just barely hit the notes or had outrageously wide vibrato that made it impossible to tell what the note was in the first place.
 == My view on microtonality ==
-I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned (by virtue of being a "pythagorean tuning")
+I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned (by virtue of being a "pythagorean tuning").
-My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as too crude. It's a pythagorean tuning trying to masquerade as meantone. 72EDO offers a much better harmonic approximation while being very easy to build in a DAW.
+My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as too crude. It's a pythagorean tuning, and I've become tired of people trying to masquerade as meantone. 72EDO offers a vastly better harmonic approximation while being very easy to build in a DAW.
 EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach microtonality, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.
@@ Line 54: / Line 54: @@
 * [[User:Eufalesio/Proposal to the Functional Just System]]
 * [[User:Eufalesio/Eufa's JI voicing notation]]
+* [[User:Eufalesio/Enumeration]]
 The list will be expanded further as more articles are published.