I’m almost at a loss for words. The theme and phrasing work really well translating into other EDOs. The only one that feels wrong is 5 EDO. I wonder if this could be used in gameplay for different levels, or if you ate the wrong mushroom! Either way, keep up the fabulous work. It is excellent for stimulating ideas on how we can write and interpret music in different ways.
One thing I have to wonder about with all of these is, like, what would this have sounded like, if it had been composed in that EDO all along? Like, I'm not sure what you are doing here but I think it amounts to "the closest possible approximation without adding stuff"? In 53edo, say, they might use much more complex chords, perhaps. And meanwhile in sub-12-edo, you (necessarily) start *losing* chords for an increasingly simpler melody sometimes. Since that is forced on you by the limited number of notes to choose from, I immediately have to wonder what are some 12-edo forced choices that would likely have been solved differently at higher EDO?
That's right, I don't add any stuff. Some EDOs have better approximations for the dominant seven chord or even in the upper extensions than 12edo. There are even EDOs in which the major third is way more approximated than in 12edo (e.g. 31edo's major third is one cent sharp while 12edo's major third is 14 cents sharp). And sometimes I like the jankyness of smaller EDOs.
It’s the only antidiatonic mapping among used these (and 7edo is at the border of diatonic and antidiatonic; and 5edo is “infinitely diatonic”; what’s “intinitely antidiatonic” would be 2edo). Strictly speaking, for (anti)diatonic music, each edo can be mapped differently even when we’re concerned just with regular ways to do so, but for small edos there are “simplest possible mappings”. For large edos, possibilities start, like 35edo can be mapped like 5edo or like 7edo-both extreme ends of diatonic range-but not any way inbetween if we map each diatonic semitone to X steps and each chromatic semitone to Y steps with no exceptions. 70edo can be mapped three ways, just one way not equivalent to 5edo or 7edo: taking 7 edosteps for a chromatic semitone (there are 5 of them per octave) and 5 edosteps for a diatonic one (7 of those per octave, so together 5 × 7 + 7 × 5 = 70). But then every “diatonic edo” can even be mapped in antidiatonic way (and so, some “antidiatonic edos” can be mapped in diatonic way-but not all): like 12edo can be mapped thus: diatonic semitone to 6 steps, chromatic semitone to −6 steps. We’ll have a very degenerate mapping where C, D, E all coincide, then we go half-octave up, then F, G, A, B all coincide again. This is unusable but larger edos can give examples that are more interesting. 30edo can be mapped as 5edo but also antidiatonically: diatonic semitone to 5 edosteps, chromatic semitone to −1 step. We have C-D-E and F-G-A-B all 4 steps each (and E-F and B-C are 5 steps). This is quite mellow and close to 7edo.
Super Microtonal Bros.
I’m almost at a loss for words. The theme and phrasing work really well translating into other EDOs. The only one that feels wrong is 5 EDO. I wonder if this could be used in gameplay for different levels, or if you ate the wrong mushroom! Either way, keep up the fabulous work. It is excellent for stimulating ideas on how we can write and interpret music in different ways.
One thing I have to wonder about with all of these is, like,
what would this have sounded like, if it had been composed in that EDO all along?
Like, I'm not sure what you are doing here but I think it amounts to "the closest possible approximation without adding stuff"?
In 53edo, say, they might use much more complex chords, perhaps. And meanwhile in sub-12-edo, you (necessarily) start *losing* chords for an increasingly simpler melody sometimes.
Since that is forced on you by the limited number of notes to choose from, I immediately have to wonder what are some 12-edo forced choices that would likely have been solved differently at higher EDO?
That's right, I don't add any stuff.
Some EDOs have better approximations for the dominant seven chord or even in the upper extensions than 12edo. There are even EDOs in which the major third is way more approximated than in 12edo (e.g. 31edo's major third is one cent sharp while 12edo's major third is 14 cents sharp).
And sometimes I like the jankyness of smaller EDOs.
27 lets goooo
Daily dose of 23 EDO.
superpyth 27edo dang lol
SuperPythagorio Bros
Can you do The Legend Of Zelda Overworld theme in different temperaments as a follow up?
Yes, sure thing!
Mavila Experiments - A Horse With No Name
you should both try to retune a song into mavilla and changing it back to the original key.
23edo is so extremely different from anything else lol
Antidiatonic!
It’s the only antidiatonic mapping among used these (and 7edo is at the border of diatonic and antidiatonic; and 5edo is “infinitely diatonic”; what’s “intinitely antidiatonic” would be 2edo).
Strictly speaking, for (anti)diatonic music, each edo can be mapped differently even when we’re concerned just with regular ways to do so, but for small edos there are “simplest possible mappings”. For large edos, possibilities start, like 35edo can be mapped like 5edo or like 7edo-both extreme ends of diatonic range-but not any way inbetween if we map each diatonic semitone to X steps and each chromatic semitone to Y steps with no exceptions. 70edo can be mapped three ways, just one way not equivalent to 5edo or 7edo: taking 7 edosteps for a chromatic semitone (there are 5 of them per octave) and 5 edosteps for a diatonic one (7 of those per octave, so together 5 × 7 + 7 × 5 = 70).
But then every “diatonic edo” can even be mapped in antidiatonic way (and so, some “antidiatonic edos” can be mapped in diatonic way-but not all): like 12edo can be mapped thus: diatonic semitone to 6 steps, chromatic semitone to −6 steps. We’ll have a very degenerate mapping where C, D, E all coincide, then we go half-octave up, then F, G, A, B all coincide again. This is unusable but larger edos can give examples that are more interesting.
30edo can be mapped as 5edo but also antidiatonically: diatonic semitone to 5 edosteps, chromatic semitone to −1 step. We have C-D-E and F-G-A-B all 4 steps each (and E-F and B-C are 5 steps). This is quite mellow and close to 7edo.
@@05degrees is it all the prime-EDOs that are somehow special? (you mentioned 2 5 7 23. What about 3 11 13 17 19 31...)
@@05degrees*Mavila Temperament.*
@@jericsaeyoung69 Yeah; though not all antidiatonic is mavila. But 23edo was IIRC.