26edo
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=Compositions= [[http://soundclick.com/share?songid=5683791|A Time-Yellowed Photo of the Cliffs of Nostalgia]] by Igliashon Jones [[http://www.io.com/%7Ehmiller/midi/26tet.mid|Etude in 26-tone equal tuning]] by Herman Miller =**Structure**= The structure of 26-EDO is an interesting beast, and I find three particular manners of understanding the chords and chordal relationships in it; 1. In terms of traditional chord types, that is, as a variant of meantone stretched too far, which yields interesting but perhaps unsatisfying results (due mainly to the dissonance of its thirds, and its major seconds of either approximately 10/9 or 8/7, but NOT 9/8). This is not meant to say that this approach is without merit. 2. As two parallel 13-EDO scales (And as I've considered, if these two chains be shifted together or apart slightly but appropriately, interesting variants may be constructed) which is suitable for more atonal melodies. In this way its internal dynamics quite resemble those of 14-EDO. 3. 26-EDO nearly perfectly approximates the 7th and 11th harmonics, and an entire system may be constructed analogous to that based on the 3rd and 5th harmonics. The resulting scale is jagged, and it perverts common musical rules and conventions, but this particular organisation has its charm -perhaps because of this- and leads to some intriguing music. - K.
Original HTML content:
<html><head><title>26edo</title></head><body><!-- ws:start:WikiTextHeadingRule:0:<h1> --><h1 id="toc0"><a name="Compositions"></a><!-- ws:end:WikiTextHeadingRule:0 -->Compositions</h1> <br /> <a class="wiki_link_ext" href="http://soundclick.com/share?songid=5683791" rel="nofollow">A Time-Yellowed Photo of the Cliffs of Nostalgia</a> by Igliashon Jones<br /> <a class="wiki_link_ext" href="http://www.io.com/%7Ehmiller/midi/26tet.mid" rel="nofollow">Etude in 26-tone equal tuning</a> by Herman Miller<br /> <br /> <!-- ws:start:WikiTextHeadingRule:2:<h1> --><h1 id="toc1"><a name="Structure"></a><!-- ws:end:WikiTextHeadingRule:2 --><strong>Structure</strong></h1> <br /> The structure of 26-EDO is an interesting beast, and I find three particular manners of understanding the chords and chordal relationships in it;<br /> 1. In terms of traditional chord types, that is, as a variant of meantone stretched too far, which yields interesting but perhaps unsatisfying results (due mainly to the dissonance of its thirds, and its major seconds of either approximately 10/9 or 8/7, but NOT 9/8). This is not meant to say that this approach is without merit.<br /> 2. As two parallel 13-EDO scales (And as I've considered, if these two chains be shifted together or apart slightly but appropriately, interesting variants may be constructed) which is suitable for more atonal melodies. In this way its internal dynamics quite resemble those of 14-EDO.<br /> 3. 26-EDO nearly perfectly approximates the 7th and 11th harmonics, and an entire system may be constructed analogous to that based on the 3rd and 5th harmonics. The resulting scale is jagged, and it perverts common musical rules and conventions, but this particular organisation has its charm -perhaps because of this- and leads to some intriguing music.<br /> <br /> - K.</body></html>