User:Aura/Aura's EDO Impressions: Difference between revisions
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Additional EDO impression based on my work with 159edo-based retunings, and updated information on 159edo itself. |
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12 - Finally! The EDO I have the most extensive experience with. All my direct, first-hand experience with 1edo, 2edo, 3edo, 4edo and 6edo prior to me finishing this page came about because I have access to a 12edo instrument- my grandmother's piano. It is also from here that I've taken the bulk of my ideas on tonality- including my idea for Treble-Down tonality. | 12 - Finally! The EDO I have the most extensive experience with. All my direct, first-hand experience with 1edo, 2edo, 3edo, 4edo and 6edo prior to me finishing this page came about because I have access to a 12edo instrument- my grandmother's piano. It is also from here that I've taken the bulk of my ideas on tonality- including my idea for Treble-Down tonality. | ||
13-23 - Um... | 13 - Um... | ||
14 - I have to admit that I was surprised to learn from others that one can replicate dial tones in this EDO, and it was that knowledge that made me want to incorporate a 159edo-based approximation of it. Suffice to say that based on my work with said approximation, this is a pretty strange EDO overall as you don't have as much of the familiar to rely on. | |||
15-16 - Um... | |||
17 - Like 14edo this EDO is pretty strange as you don't have as much of the familiar to rely on, though it does better than 12edo in some respects. Judging from my experience with the 159edo-based approximation of it, I can surmise that trying to work with Neapolitan-type scales in this EDO makes for an interesting experience. | |||
18 - Um... | |||
19 - Judging from my experience with the 159edo-based approximation of it, I can surmise that this EDO is a little easier to work with than 17edo, but again, trying to work with Neapolitan-type scales in this EDO makes for an interesting experience. | |||
20-21 - Um... | |||
22 - I have to say that judging from the 159edo-based approximation that I'm using, the pentatonic scales actually sound pretty good, but the fact that this EDO forces its users to explore of unfamiliar harmonic territory is a double-edged sword. | |||
23 - Um... | |||
24 - This EDO served as my first personal foray into the world of microtonality. It is also from here that I learned what I have about the 11-limit. | 24 - This EDO served as my first personal foray into the world of microtonality. It is also from here that I learned what I have about the 11-limit. | ||
25-52 - Um... | 25-26 - Um... | ||
27 - Not going to lie, given how underexplored this EDO is, I felt it necessary to try working with a 159edo-based retuning of it. Judging from my experience with that, it should suffice to say that working with Superlocrian in this EDO is another interesting experience. | |||
28-30 - Um... | |||
31 - Working with Superlocrian in this EDO is again interesting, but it's easier to do with this EDO than with 27edo. | |||
32-52 - Um... | |||
53 - Most of my experience with this EDO comes from my current experiments with 159edo, and this will likely continue to be the case since this edo doesn't have good approximations of the 11-limit. | 53 - Most of my experience with this EDO comes from my current experiments with 159edo, and this will likely continue to be the case since this edo doesn't have good approximations of the 11-limit. | ||
54-93 - Um... | 54-71 - Um... | ||
72 - While I don't recall making many songs with this EDO, I did compile a private list of Just Intervals, and I was quite fascinated with it for a time, as this EDO has better 5-limit and 7-limit approximations than both 12edo and 24edo. | |||
73-93 - Um... | |||
94 - Surprisingly, I have attempted to use this EDO before, and it is the first EDO I've attempted to use that wasn't some kind of superset of 12edo. I've noticed just from working out the JI intervals that this EDO approximates that the 7-limit for this edo is really good- better than what this edo has to offer in the 5-limit. Furthermore, all of the pitches in this edo are connected by a single, complicated circle of fifths. It is from working with this EDO that I learned the ways that the paradiatonic prime-limits (that would be the 7-limit, the 11-limit, and the 13-limit) are connected with each other. | |||
95-119 - Um... | |||
120 - Just like with 72edo, I don't recall making many songs with this EDO, but again, I did compile a private list of Just Intervals, and I was quite fascinated with it for a time. However, you can't make a proper diatonic scale in this EDO without dealing with contortion in the 3-limit, and it was at that point that I realized that contortion in the 3-limit was a problem. | |||
121-158 - Um... | |||
159 - This is the best EDO I've worked with, hands down. | 159 - This is the best EDO I've worked with, hands down. After finishing the list of JI equivalents of the various steps of this EDO, I have since found that not only is 159edo very good for those who like to make more just versions of the more familiar kinds of things you see in 24edo, but is also very capable of approximating the steps many lower EDOs within five cents, making for some decent retunings of some of the more commonly used EDOs such as 22edo, 31edo, and, according to my calculations, even 41edo. Based on this discovery alone, I'd have to say that 159edo is not just a superset of 53edo, but rather an EDO that is rather full of surprises. | ||