This rendition sounds nice! I love how crunchy the minor 7th is in 22edo as it functions as both 7/4 and 16/9. Compared to the Pythagorean and parapyth/neogothic tunings without 81/80 adjustments, superpyth tempers the major 3rd to 9/7 instead of 14/11 or 81/64, which sounds more consonant. 22edo also shares sonorities with 55edo which I find interesting (as they both contain 11edo). The only difference between the two is 55edo tempers out 81/80 while 22edo doesn’t. The upminor 2nd (or diminished 3rd) in 22edo and the minor 2nd in 55edo are the exact same interval! 2\22 and 5\55 = 1\11 😮
This definitely sounds off, which is not surprising since 22EDO seriously inflates the syntonic comma, and is quite a hard tuning system to use for common practice music -- it needs to be specially written for. In particular, while the 3rd harmonic is very sharp, the 5th harmonic is very flat, and then the 7th harmonic is even more sharp. The 7th harmonic is almost twice as sharp as the 3rd harmonic, so that the 9/7 major third and 14/9 minor sixth that it really wants you to use are close to just (22EDO is close to quarter-comma superpyth, the Archytas comma counterpart to meantone). Nevertheless, this is useful as an instructional tool. Now I wonder how this would sound _without_ the syntonic comma adjustments.
my buddy pal beat me into submission while listening to this song.
This rendition sounds nice! I love how crunchy the minor 7th is in 22edo as it functions as both 7/4 and 16/9. Compared to the Pythagorean and parapyth/neogothic tunings without 81/80 adjustments, superpyth tempers the major 3rd to 9/7 instead of 14/11 or 81/64, which sounds more consonant. 22edo also shares sonorities with 55edo which I find interesting (as they both contain 11edo). The only difference between the two is 55edo tempers out 81/80 while 22edo doesn’t. The upminor 2nd (or diminished 3rd) in 22edo and the minor 2nd in 55edo are the exact same interval! 2\22 and 5\55 = 1\11 😮
Almost sounds like it was played on a tack piano which is cool.
This definitely sounds off, which is not surprising since 22EDO seriously inflates the syntonic comma, and is quite a hard tuning system to use for common practice music -- it needs to be specially written for. In particular, while the 3rd harmonic is very sharp, the 5th harmonic is very flat, and then the 7th harmonic is even more sharp. The 7th harmonic is almost twice as sharp as the 3rd harmonic, so that the 9/7 major third and 14/9 minor sixth that it really wants you to use are close to just (22EDO is close to quarter-comma superpyth, the Archytas comma counterpart to meantone). Nevertheless, this is useful as an instructional tool. Now I wonder how this would sound _without_ the syntonic comma adjustments.