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:::::: Given the trade off, I'd say that the reasonable choice is to try and approximate the rational values- especially 1-digit and 2-digit values- within a value of less than 3.5 cents wherever possible, as this is the kind of size difference where people won't really notice the deviation from harmony.  As it happens, 159edo and a number of other EDOs in that area do a pretty good job with this from what I see.  Yes, there are flaws, such as 159edo's inconsistent treatment of the 19 prime, but since 159edo represents the primes 5, 7 and 13 reasonably well, with the primes 3, 11, and 17 being represented by intervals that are less than a cent away from harmony, and since the primes 2, 3, 5, 7, 11, 13 and 17 are the primes that have the most to really offer, I think we have the most important facets covered where it counts the most.  I should point out that the reason I value the sense of equidistant notes is that it enables a sense of uniformity and provides some measure of simplicity, but using a set of equidistant notes that is too small causes problems and doesn't respect the unequal distances between 1-digit and 2-digit values within good enough reason.  I definitely try to extend the tonal system but then classify the resulting tones and their functional roles into two classes: "main tones" (akin to your idea of "degrees") and "variant tones" (akin to your idea of "non-degrees"). As far as I'm concerned, "variant tones" mainly act as chord roots during modulation- that is, when you're in the middle of trying to change keys- and don't do anything like that under most other circumstances, so yes "variant tones" do indeed have a more limited role compared to "main tones".  Does all of this make sense? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 17:43, 27 November 2020 (UTC)
:::::: Given the trade off, I'd say that the reasonable choice is to try and approximate the rational values- especially 1-digit and 2-digit values- within a value of less than 3.5 cents wherever possible, as this is the kind of size difference where people won't really notice the deviation from harmony.  As it happens, 159edo and a number of other EDOs in that area do a pretty good job with this from what I see.  Yes, there are flaws, such as 159edo's inconsistent treatment of the 19 prime, but since 159edo represents the primes 5, 7 and 13 reasonably well, with the primes 3, 11, and 17 being represented by intervals that are less than a cent away from harmony, and since the primes 2, 3, 5, 7, 11, 13 and 17 are the primes that have the most to really offer, I think we have the most important facets covered where it counts the most.  I should point out that the reason I value the sense of equidistant notes is that it enables a sense of uniformity and provides some measure of simplicity, but using a set of equidistant notes that is too small causes problems and doesn't respect the unequal distances between 1-digit and 2-digit values within good enough reason.  I definitely try to extend the tonal system but then classify the resulting tones and their functional roles into two classes: "main tones" (akin to your idea of "degrees") and "variant tones" (akin to your idea of "non-degrees"). As far as I'm concerned, "variant tones" mainly act as chord roots during modulation- that is, when you're in the middle of trying to change keys- and don't do anything like that under most other circumstances, so yes "variant tones" do indeed have a more limited role compared to "main tones".  Does all of this make sense? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 17:43, 27 November 2020 (UTC)
:::::: I understand. Oh, and it is great that you open to the pretty weird idea (because it can complicate things too much) of "non-degrees" under the name of "variant tones" (probably, clearer name). Yes, so far I think it all makes sense, but right now this is shooting off the heap (is that a correct idiom?). — [[User:SAKryukov|SA]] 18:22, 27 November 2020 (UTC)


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