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0 pointsdwringer3y ago0 comments

I always thought one of the main benefits of a 7-tone subset is that it fits inside working memory. It's also what anyone who grew up with commercial pop music or western classical music has a natural ear for. Not to mention that even just looking at it harmonically, all 12 tones are most certainly not equal from a given root.

AFAIU, historically 12-TET is really a compromise, sacrificing some harmonicity to simplify and enable having symmetrical 7-note tonality in any traditional mode starting from any point in any scale. Some modern styles definitely subvert this idea, embracing the full range of chromaticity - but without abandoning 12-TET, they are still playing with the audience's harmonic preconceptions that are based in conventional tonality.

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Jeff_Brown3y ago

> AFAIU, historically 12-TET is really a compromise, sacrificing some harmonicity to simplify and enable having symmetrical 7-note tonality in any traditional mode starting from any point in any scale

It is. And it's a surprisingly lucky compromise. By some metrics 19-EDO, 22-EDO and 31-EDO dominate 12-EDO for traditional (5-limit) music theory. (And of course every multiple of 12 does.) But if you want strictly better thirds and fifths, the smallest EDO that qualifies is 41.

For anyone interested in big microtonal scales, there's a great website[1] that will render a touchscreen-friendly virtual keyboard with whatever scale and layout (provided it's hexagonal) you want. Don't worry about all the menus to start, just pick something from the first menu, "Tuning\Layout Quick Links".

[1] http://terpstrakeyboard.com/web-app/keys.htm

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0 pointsdwringer3y ago0 comments

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Jeff_Brown3y ago

[1] http://terpstrakeyboard.com/web-app/keys.htm

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