*12edo:* Do you see that these groups of notes (0:070:17) are descending? *16edo & 23edo:* Yup. *12edo:* And do you see that these groups of notes (0:360:390:44) are ascending? *16edo & 23edo:* Yup. *12edo:* All the other tuning systems, while not perfect, at least were able to put those notes in descending and ascending order respectively. Ergo, you should do the same as well. *16edo & 23edo:* That makes sense to me. *12edo:* Then play it. *16edo:* 7:097:197:377:407:45 *23edo:* 8:018:118:298:338:38
You probably know this, but I'll write it in reply to you for anyone who doesn't: 16edo and 23edo are considered anti-diatonic systems. This means that wherever you'd expect minor thirds you'd find major thirds and vice versa (with some intervals more in the neutral territory instead). Hence the direction of chromatic semitones is also reversed, as these masterfully rendered pieces are not just pitch approximations but attempt to follow a cohesive structure of harmony.
@@stavats Oh yeah, I forgot about that. I still would rather it be just pitch approximations. If it's gonna pretend to be something that it's not, it might as well go all the way.
@@stavats I guess there are two correct ways of playing it, the theoretical correct version where you follow the rules of the tuning, and the version where you follow your ear. Personally I've never followed any "rules" but it does give some neat results so I might dig into it some day
@@stavatspeople shouldn’t notate 16edo or 23edo as native fifth notation for this very reason! It’s inherently too confusing to justify the scheme, especially when you can notate 16edo as part of 48edo which is already accepted. 23edo is best as a subset of 46edo
begining of 16edo: hmm this is actually pretty ni- (bar 6) oh man oh jeeze oh god oh fuck im literally being dragged to the underworld 23edo: am i safe? did my soul stay earthbound? hmm this is surprisingly good... i think im safe. thank you tiny infant jesus, thank yo- 7edo: (crying in purgatory)
Well, the same goes for 23edo. If you're playing if 24edo a lot, 23edo could also be scary for you because it works fundamentally differently in comparison to 24edo. Same goes for 11edo and 13edo, if you're comparing them to 12edo. Oh, and I just remembered myself, that I've never experimented with 18edo, because it's very weird. I've experimented with 17edo and 19edo quite a lot. But 18edo? Never composed something in it (outside of the Happy Birthday part in 18edo).
@@FranciumMusic Haha yeah, logically I know that being consecutive numbers doesn't mean they'll be similar at all, it's just kinda funny to me for some reason I think I need to spend several more hours studying the wiki before I'm comfortable touching Mavila tunings at all
12: normal flavor
19: resonant flavor
26: uncanny flavor
31: nostalgic flavor
53: bright flavor
22: wierd flavor
17: dense flavor
5: open flavor
16: demonic flavor
23: alien flavor
7: bleak flavor
16/23: shostakovich string quartet no. 8 flavor
my feelings are irrational
*12edo:* Do you see that these groups of notes (0:07 0:17) are descending?
*16edo & 23edo:* Yup.
*12edo:* And do you see that these groups of notes (0:36 0:39 0:44) are ascending?
*16edo & 23edo:* Yup.
*12edo:* All the other tuning systems, while not perfect, at least were able to put those notes in descending and ascending order respectively. Ergo, you should do the same as well.
*16edo & 23edo:* That makes sense to me.
*12edo:* Then play it.
*16edo:* 7:09 7:19 7:37 7:40 7:45
*23edo:* 8:01 8:11 8:29 8:33 8:38
You probably know this, but I'll write it in reply to you for anyone who doesn't: 16edo and 23edo are considered anti-diatonic systems. This means that wherever you'd expect minor thirds you'd find major thirds and vice versa (with some intervals more in the neutral territory instead). Hence the direction of chromatic semitones is also reversed, as these masterfully rendered pieces are not just pitch approximations but attempt to follow a cohesive structure of harmony.
@@stavats Oh yeah, I forgot about that. I still would rather it be just pitch approximations. If it's gonna pretend to be something that it's not, it might as well go all the way.
@@stavats I guess there are two correct ways of playing it, the theoretical correct version where you follow the rules of the tuning, and the version where you follow your ear. Personally I've never followed any "rules" but it does give some neat results so I might dig into it some day
@@stavatspeople shouldn’t notate 16edo or 23edo as native fifth notation for this very reason! It’s inherently too confusing to justify the scheme, especially when you can notate 16edo as part of 48edo which is already accepted. 23edo is best as a subset of 46edo
7edo made me curl up in a ball and sob
*Miicrotones*
begining of 16edo: hmm this is actually pretty ni-
(bar 6) oh man oh jeeze oh god oh fuck
im literally being dragged to the underworld
23edo: am i safe? did my soul stay earthbound? hmm this is surprisingly good... i think im safe. thank you tiny infant jesus, thank yo-
7edo: (crying in purgatory)
This sounds unreasonably good in 17edo!
Most things do, in my opinion ;)
I love and hate it. Thank you.
16 is my fave ngl. It's tasty.
9:13 this little passage sounds quite nice
17 slaps
5edo similar to the javanese slendro tuning
Fantastically cursed
MIIraculous !
Hi Francium 🙂
Hi 0.5 degrees 🙂
>16EDO
>7EDO
God, microtonality is fucking cursed.
16edo is funny because it has familiar thirds and nothing else
You mean g
freaking curse
And what if I said this was the video that finally got me subscribed?
16edo is profoundly weird, I'm scared of it even though I've played around with 17 quite a bit. Should be neighbors, and yet...
Well, the same goes for 23edo. If you're playing if 24edo a lot, 23edo could also be scary for you because it works fundamentally differently in comparison to 24edo.
Same goes for 11edo and 13edo, if you're comparing them to 12edo.
Oh, and I just remembered myself, that I've never experimented with 18edo, because it's very weird. I've experimented with 17edo and 19edo quite a lot. But 18edo? Never composed something in it (outside of the Happy Birthday part in 18edo).
@@FranciumMusic Haha yeah, logically I know that being consecutive numbers doesn't mean they'll be similar at all, it's just kinda funny to me for some reason
I think I need to spend several more hours studying the wiki before I'm comfortable touching Mavila tunings at all
I think at least in 12edo you got the notes at measure 16 wrong and it's really annoying me.