Talk:19edo: Difference between revisions
→19edo's 7-limit vs. 12edo: explanation |
→19edo's 7-limit vs. 12edo: Fudging the 7/4 to something serviceable |
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:: I think that's just because you're used to 12edo. The 12edo "harmonic seventh chord" sounds better because it is the familiar dominant seventh chord, but IMO it doesn't really represent 4:5:6:7. Personally both the 12edo and 19edo versions sound quite different from 4:5:6:7, but the 19edo one is somewhat closer. --[[User:Overthink|Overthink]] ([[User talk:Overthink|talk]]) 07:55, 14 February 2026 (UTC) | :: I think that's just because you're used to 12edo. The 12edo "harmonic seventh chord" sounds better because it is the familiar dominant seventh chord, but IMO it doesn't really represent 4:5:6:7. Personally both the 12edo and 19edo versions sound quite different from 4:5:6:7, but the 19edo one is somewhat closer. --[[User:Overthink|Overthink]] ([[User talk:Overthink|talk]]) 07:55, 14 February 2026 (UTC) | ||
::: That's why I included 31edo in the comparison — if it was just a matter of being used to 12edo, then 31edo's barbershop chord wouldn't sound good. The 12edo version is a fudge for 4:5:6:7, with substitution of a pretty good 16/9 for the 7/4 (it still fits in the general vicinity of a minor seventh), whereas 19edo doesn't offer a substitute that fits in the right interval zone (just intervals 26/15 and especially 19/11 are close to 15\19, but they sound more like slightly stretched major sixths). [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 17:56, 14 February 2026 (UTC) | |||