24edo/Interval names and harmonies: Difference between revisions

Line 11:

=== Whole Tones ===

24 EDO there are not one, but two distinct sizes of larger tones. The wide whole tone usually called "wide tone" at 250 cents, and the natural whole tone, usually called "whole tone" at 200 cents, therefore the natural whole tone is exactly the same interval that appears in 12 EDO as a whole tone. The wide whole tone generally has a more metallic sound than the narrow tone as well as a more moody character compared to the brightness of the natural whole tone. In context of a major chord, the wide tone brings a much colder flavor to the major chord than the whole tone which enhances the brightness of the major chord. The wide tone from the root clashes heavily with minor chords as the minor third and the wide tone are only a quarter tone apart. Diatonic chords tend to move naturally by wide tone movement such as moving an Am chord to an Gd major chord. The wide tone is fairly unique to 24 EDO as in it's too small to be considered a good 7/6 and fits more as being described as a 15/13. The major whole tone is represented by a lowercase w while to wide whole tone is represented by an uppercase W. An example of a whole tone is C to D and a wide tone is C to Dt or enharmonically C to Edb.

24 EDO there are not one, but two distinct sizes of larger tones. The wide whole tone usually called "wide tone" at 250 cents, and the natural whole tone, usually called "whole tone" at 200 cents, therefore the natural whole tone is exactly the same interval that appears in 12 EDO as a whole tone. The wide whole tone generally has a more metallic sound than the narrow tone as well as a more moody character compared to the brightness of the natural whole tone. In context of a major chord, the wide tone brings a much colder flavor to the major chord than the whole tone which enhances the brightness of the major chord. The wide tone from the root clashes heavily with minor chords as the minor third and the wide tone are only a quarter tone apart. Diatonic chords tend to move naturally by wide tone movement such as moving an Am chord to a Gd major chord, or moving a D semi-augmented chord to a Et diminished chord- the latter motion in particular being useful in modulations. The wide tone is fairly unique to 24 EDO as in it's too small to be considered a good 7/6 and fits more as being described as a 15/13. The major whole tone is represented by a lowercase w while to wide whole tone is represented by an uppercase W. An example of a whole tone is C to D and a wide tone is C to Dt or enharmonically C to Edb.

=== Semitones ===

Like whole tones, there are two distinct sizes of semitones in 24 EDO: The narrow semitone at 100 cents and the wider semitone at 150 cents called "neutral". While the narrow semitone is exactly the same as the 12 EDO semitone, the neutral tone is unique. The neutral tone is called so because it represents both a narrow whole tone and a wide semitone depending on how it's used. It is heavily used in persian, turkish, and other forms of eastern music as well as some east asian scales though normally is slightly sharp or flat from 24 ET. The character of the neutral tone resembles the sound of bells, a car horn, and other sounds that are normally considered "non-musical" which can be a valuable asset to those trying to impressionistically compose music to mimic sounds such as trains and car horns. If fact, the dialing tone in the US is fairly close to a 150 cent neutral tone so ~~I guess you~~ could call it a "dial tone" ~~hehe~~. An example of a narrow semitone is C to C# or enharmonically, C to Db. An example of a wide semitone is C to Dd.

Like whole tones, there are two distinct sizes of semitones in 24 EDO: The narrow semitone at 100 cents and the wider semitone at 150 cents called "neutral". While the narrow semitone is exactly the same as the 12 EDO semitone, the neutral tone is unique. The neutral tone is called so because it represents both a narrow whole tone and a wide semitone depending on how it's used. It is heavily used in persian, turkish, and other forms of eastern music as well as some east asian scales though normally is slightly sharp or flat from 24 ET. The character of the neutral tone resembles the sound of bells, a car horn, and other sounds that are normally considered "non-musical" which can be a valuable asset to those trying to impressionistically compose music to mimic sounds such as trains and car horns. In fact, the dialing tone in the US is fairly close to a 150 cent neutral tone so one could potentially (and humorously) call it a "dial tone". In addition to all this, the neutral tone is surprisingly useful in chord progressions- for example, in following up a bright but tense 0c-400c-650c chord built on the note located 550 cents above the tonic with the same tonic's traditional V7 chord. An example of a narrow semitone is C to C# or enharmonically, C to Db. An example of a wide semitone is C to Dd.

=== Seconds ===

Line 27:

=== Fourths ===

24 EDO contains five distinct sizes of fourths: Diminished fourth 400c - Narrow fourth 450c - Perfect fourth 500c - Wide fourth 550c - Augmented fourth 600c. The wide fourth is a great representation of the eleventh harmonic 11/8, while the narrow fourth is enharmonically the same as an ultra third. 11/8 is a fantastic addition to major triads while 13/10 can sound good with minor triads.

24 EDO contains five distinct sizes of fourths: Diminished fourth 400c - Narrow fourth 450c - Perfect fourth 500c - Wide fourth 550c - Augmented fourth 600c. The wide fourth is a great representation of the eleventh harmonic 11/8, while the narrow fourth is enharmonically the same as an ultra third. The 11/8 is a fantastic addition to major triads, while the 13/10 can sound good with minor triads.

=== Fifths ===

24 EDO contains four distinct sizes of fifths: Diminished Fifth 600 - Narrow fifth 650c - Perfect fifth 700c - Wide fifth 750c - Augmented fifth 800c. The sound of the narrow and wide fifths are very cool and extremely different from 12 ET sounds. The narrow fifth, which is considered to be the most dissonant interval in 24 ET next to the ultra seventh, is a fantastic representation of the 11th subharmonic 16/11. The narrow fifth sometimes called "wolf fifth" can be used to create dynamic texture and voice leading but has a rough character that can be challenging to incorporate into the music well. The wide fifth is a good representation of 17/11.

24 EDO contains four distinct sizes of fifths: Diminished Fifth 600 - Narrow fifth 650c - Perfect fifth 700c - Wide fifth 750c - Augmented fifth 800c. The sound of the narrow and wide fifths are very cool and extremely different from 12 ET sounds. The narrow fifth, which is considered to be the most dissonant interval in 24 ET next to the ultra seventh, is a fantastic representation of the 11th subharmonic 16/11. The narrow fifth, sometimes called a "wolf fifth", can be used to create dynamic texture and voice leading but has a rough character that can be challenging to incorporate into the music well, though of course there's the option using it as the fifth of the aforementioned 0c-400c-650c chord. The wide fifth is a good representation of 17/11.

=== Sixths ===

@@ Line 11: / Line 11: @@
 === Whole Tones ===
-EDO there are not one, but two distinct sizes of larger tones. The wide whole tone usually called "wide tone" at 250 cents, and the natural whole tone, usually called "whole tone" at 200 cents, therefore the natural whole tone is exactly the same interval that appears in 12 EDO as a whole tone. The wide whole tone generally has a more metallic sound than the narrow tone as well as a more moody character compared to the brightness of the natural whole tone. In context of a major chord, the wide tone brings a much colder flavor to the major chord than the whole tone which enhances the brightness of the major chord. The wide tone from the root clashes heavily with minor chords as the minor third and the wide tone are only a quarter tone apart. Diatonic chords tend to move naturally by wide tone movement such as moving an Am chord to an Gd major chord. The wide tone is fairly unique to 24 EDO as in it's too small to be considered a good 7/6 and fits more as being described as a 15/13. The major whole tone is represented by a lowercase w while to wide whole tone is represented by an uppercase W. An example of a whole tone is C to D and a wide tone is C to Dt or enharmonically C to Edb.
+EDO there are not one, but two distinct sizes of larger tones. The wide whole tone usually called "wide tone" at 250 cents, and the natural whole tone, usually called "whole tone" at 200 cents, therefore the natural whole tone is exactly the same interval that appears in 12 EDO as a whole tone. The wide whole tone generally has a more metallic sound than the narrow tone as well as a more moody character compared to the brightness of the natural whole tone. In context of a major chord, the wide tone brings a much colder flavor to the major chord than the whole tone which enhances the brightness of the major chord. The wide tone from the root clashes heavily with minor chords as the minor third and the wide tone are only a quarter tone apart. Diatonic chords tend to move naturally by wide tone movement such as moving an Am chord to a Gd major chord, or moving a D semi-augmented chord to a Et diminished chord- the latter motion in particular being useful in modulations. The wide tone is fairly unique to 24 EDO as in it's too small to be considered a good 7/6 and fits more as being described as a 15/13. The major whole tone is represented by a lowercase w while to wide whole tone is represented by an uppercase W. An example of a whole tone is C to D and a wide tone is C to Dt or enharmonically C to Edb.
 === Semitones ===
-Like whole tones, there are two distinct sizes of semitones in 24 EDO: The narrow semitone at 100 cents and the wider semitone at 150 cents called "neutral". While the narrow semitone is exactly the same as the 12 EDO semitone, the neutral tone is unique. The neutral tone is called so because it represents both a narrow whole tone and a wide semitone depending on how it's used. It is heavily used in persian, turkish, and other forms of eastern music as well as some east asian scales though normally is slightly sharp or flat from 24 ET. The character of the neutral tone resembles the sound of bells, a car horn, and other sounds that are normally considered "non-musical" which can be a valuable asset to those trying to impressionistically compose music to mimic sounds such as trains and car horns. If fact, the dialing tone in the US is fairly close to a 150 cent neutral tone so I guess you could call it a "dial tone" hehe.  An example of a narrow semitone is C to C# or enharmonically, C to Db. An example of a wide semitone is C to Dd.
+Like whole tones, there are two distinct sizes of semitones in 24 EDO: The narrow semitone at 100 cents and the wider semitone at 150 cents called "neutral". While the narrow semitone is exactly the same as the 12 EDO semitone, the neutral tone is unique. The neutral tone is called so because it represents both a narrow whole tone and a wide semitone depending on how it's used. It is heavily used in persian, turkish, and other forms of eastern music as well as some east asian scales though normally is slightly sharp or flat from 24 ET. The character of the neutral tone resembles the sound of bells, a car horn, and other sounds that are normally considered "non-musical" which can be a valuable asset to those trying to impressionistically compose music to mimic sounds such as trains and car horns. In fact, the dialing tone in the US is fairly close to a 150 cent neutral tone so one could potentially (and humorously) call it a "dial tone".  In addition to all this, the neutral tone is surprisingly useful in chord progressions- for example, in following up a bright but tense 0c-400c-650c chord built on the note located 550 cents above the tonic with the same tonic's traditional V7 chord.  An example of a narrow semitone is C to C# or enharmonically, C to Db. An example of a wide semitone is C to Dd.
 === Seconds ===
@@ Line 27: / Line 27: @@
 === Fourths ===
-EDO contains five distinct sizes of fourths: Diminished fourth 400c - Narrow fourth 450c - Perfect fourth 500c - Wide fourth 550c - Augmented fourth 600c. The wide fourth is a great representation of the eleventh harmonic 11/8, while the narrow fourth is enharmonically the same as an ultra third. 11/8 is a fantastic addition to major triads while 13/10 can sound good with minor triads.
+EDO contains five distinct sizes of fourths: Diminished fourth 400c - Narrow fourth 450c - Perfect fourth 500c - Wide fourth 550c - Augmented fourth 600c. The wide fourth is a great representation of the eleventh harmonic 11/8, while the narrow fourth is enharmonically the same as an ultra third.  The 11/8 is a fantastic addition to major triads, while the 13/10 can sound good with minor triads.
 === Fifths ===
-EDO contains four distinct sizes of fifths: Diminished Fifth 600 - Narrow fifth 650c - Perfect fifth 700c - Wide fifth 750c - Augmented fifth 800c. The sound of the narrow and wide fifths are very cool and extremely different from 12 ET sounds. The narrow fifth, which is considered to be the most dissonant interval in 24 ET next to the ultra seventh, is a fantastic representation of the 11th subharmonic 16/11. The narrow fifth sometimes called "wolf fifth" can be used to create dynamic texture and voice leading but has a rough character that can be challenging to incorporate into the music well. The wide fifth is a good representation of 17/11.
+EDO contains four distinct sizes of fifths: Diminished Fifth 600 - Narrow fifth 650c - Perfect fifth 700c - Wide fifth 750c - Augmented fifth 800c. The sound of the narrow and wide fifths are very cool and extremely different from 12 ET sounds. The narrow fifth, which is considered to be the most dissonant interval in 24 ET next to the ultra seventh, is a fantastic representation of the 11th subharmonic 16/11. The narrow fifth, sometimes called a "wolf fifth", can be used to create dynamic texture and voice leading but has a rough character that can be challenging to incorporate into the music well, though of course there's the option using it as the fifth of the aforementioned 0c-400c-650c chord. The wide fifth is a good representation of 17/11.
 === Sixths ===