User:Godtone: Difference between revisions

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# 17 EDO is the first EDO to truly have minor, neutral and major for both seconds and thirds, and is thus quite significant as a potential next step up from 12 EDO. More exactly, these come in the flavours of neominor, neutral and neomajor.

# 19 EDO is the next step up, having seconds and thirds of the ultraminor, minor, major and ultramajor varieties. It does this by conflating an ultramajor second as an ultraminor third, creating quite a distinct interval that escapes 5L2s categorisation. Note that 18 EDO does this too, but is less symmetric. Thus 19 (or 18 - if you are so inclined - which represents a sharpening of seconds and thirds) is the next step up as corresponding to "4 types".

Note that 17 and 19 have an interesting symmetry with each-other: while 17's new type is per 5L2s category and represents something between the types of major and minor. Thus 17 respects diatonic interval categories more, which actually makes 19 the more novel system to me, for example I quite like the very distinct sound of the 5L4s "semaphore" scale; dyads and triads alike.

Note that 17 and 19 have an interesting symmetry with each-other: while 17's new type is per 5L2s category and represents something between the types of major and minor, 19's new type is between 5L2s categories. Thus 17 respects diatonic interval categories more, which actually makes 19 the more novel system to me, for example I quite like the very distinct sound of the 5L4s "semaphore" scale; dyads and triads alike.

<br/>Furthermore, note that after this point I focus on EDOs with 'good enough' fourths.

# 22 EDO is next, having subminor, supraminor, submajor and supermajor seconds and thirds, although only approximately, and in this spirit "supraminor and submajor" can be shortened to "minor and major" for brevity. 22 is distinct from 19 in that it does not have any of its types overlap between categories.

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 # 17 EDO is the first EDO to truly have minor, neutral and major for both seconds and thirds, and is thus quite significant as a potential next step up from 12 EDO. More exactly, these come in the flavours of neominor, neutral and neomajor.
 # 19 EDO is the next step up, having seconds and thirds of the ultraminor, minor, major and ultramajor varieties. It does this by conflating an ultramajor second as an ultraminor third, creating quite a distinct interval that escapes 5L2s categorisation. Note that 18 EDO does this too, but is less symmetric. Thus 19 (or 18 - if you are so inclined - which represents a sharpening of seconds and thirds) is the next step up as corresponding to "4 types".
-Note that 17 and 19 have an interesting symmetry with each-other: while 17's new type is per 5L2s category and represents something between the types of major and minor. Thus 17 respects diatonic interval categories more, which actually makes 19 the more novel system to me, for example I quite like the very distinct sound of the 5L4s "semaphore" scale; dyads and triads alike.
+Note that 17 and 19 have an interesting symmetry with each-other: while 17's new type is per 5L2s category and represents something between the types of major and minor, 19's new type is between 5L2s categories. Thus 17 respects diatonic interval categories more, which actually makes 19 the more novel system to me, for example I quite like the very distinct sound of the 5L4s "semaphore" scale; dyads and triads alike.
 <br/>Furthermore, note that after this point I focus on EDOs with 'good enough' fourths.
 # 22 EDO is next, having subminor, supraminor, submajor and supermajor seconds and thirds, although only approximately, and in this spirit "supraminor and submajor" can be shortened to "minor and major" for brevity. 22 is distinct from 19 in that it does not have any of its types overlap between categories.