Here is why that’s quite reasonable to expect: from small edos, 17 and 19 are the most close to 12, so yeah. Larger edos can come arbitrarily closer to 12’s diatonic implementation (like 31 = 19 + 12). Basically adding 5s you raise the size of the fifth and adding 7s you lower it, each time a bit smaller and smaller so you can approximate any size (which supports diatonic scale “in a good way”, as a MOS scale) by adding 5 and 7 in various combinations. Why judjing by adding 5 and 7 works is because of mediants: first we represent intervals as fractions of an octave (M\N, M steps of Nedo; the slash is deliberately backwards to distinguish from intervals presented as frequency ratios), then if we have an interval class which is realized in two edos as M₁\N₁ and M₂\N₂, can be realized in (N₁ + N₂)-edo by the mediant of these fractions, (M₁ + M₂)\(N₁ + N₂) which is always between M₁\N₁ and M₂\N₂. Meanwhile, 5edo and 7edo are the boundaries of diatonic scales, 5edo having the most sharp fifth of 3\5 and 7edo having the most flat fifth of 4\7, so adding 7 can only sharpen a fifth, adding 5 can only flatten it. Now, other diatonic interval classes like m3, M3 etc. can be analyzed in this manner, taking into account that 7edo can’t distinguish between M and m intervals and 5edo is even worse; still it can be done, treating 1\7 both as m2 and M2, 2\7 both as m3 and M3. For 5edo, 1\5 as all of m2, M2 and m3, 2\5 as M3 and P4. That’s because MOS patterns for the intervals are as follows: 0L0s - P1 1s, 1L - m2, M2 1L1s, 2L − m3, M3 2L1s, 3L - P4, A4 2L2s, 3L1s - d5, P5 3L2s, 4L1s - m6, M6 4L2s, 5L1s - m7, M7 5L2s - P8 where s is a semitone and L is a whole tone. In 5, we have s degenerate into unison, in 7 we have L and s coincide, so we can calculate “canonical representatives” for those interval classes above, in degrees of 5edo in 7edo (take just the count of L for 5edo span or take the sum of both s and L counts for 7edo span).
Such a warm tuning. I really liked the drums on this one too!
it feels like ALMOST 12-tet, but with some funky flavour notes
17 TET is a really smooth temperament
Here is why that’s quite reasonable to expect: from small edos, 17 and 19 are the most close to 12, so yeah. Larger edos can come arbitrarily closer to 12’s diatonic implementation (like 31 = 19 + 12). Basically adding 5s you raise the size of the fifth and adding 7s you lower it, each time a bit smaller and smaller so you can approximate any size (which supports diatonic scale “in a good way”, as a MOS scale) by adding 5 and 7 in various combinations.
Why judjing by adding 5 and 7 works is because of mediants: first we represent intervals as fractions of an octave (M\N, M steps of Nedo; the slash is deliberately backwards to distinguish from intervals presented as frequency ratios), then if we have an interval class which is realized in two edos as M₁\N₁ and M₂\N₂, can be realized in (N₁ + N₂)-edo by the mediant of these fractions, (M₁ + M₂)\(N₁ + N₂) which is always between M₁\N₁ and M₂\N₂. Meanwhile, 5edo and 7edo are the boundaries of diatonic scales, 5edo having the most sharp fifth of 3\5 and 7edo having the most flat fifth of 4\7, so adding 7 can only sharpen a fifth, adding 5 can only flatten it.
Now, other diatonic interval classes like m3, M3 etc. can be analyzed in this manner, taking into account that 7edo can’t distinguish between M and m intervals and 5edo is even worse; still it can be done, treating 1\7 both as m2 and M2, 2\7 both as m3 and M3. For 5edo, 1\5 as all of m2, M2 and m3, 2\5 as M3 and P4. That’s because MOS patterns for the intervals are as follows:
0L0s - P1
1s, 1L - m2, M2
1L1s, 2L − m3, M3
2L1s, 3L - P4, A4
2L2s, 3L1s - d5, P5
3L2s, 4L1s - m6, M6
4L2s, 5L1s - m7, M7
5L2s - P8
where s is a semitone and L is a whole tone. In 5, we have s degenerate into unison, in 7 we have L and s coincide, so we can calculate “canonical representatives” for those interval classes above, in degrees of 5edo in 7edo (take just the count of L for 5edo span or take the sum of both s and L counts for 7edo span).
Makes a lot a sense! Great tune
Vibey, vibrant and vibrating! I dig it. Also, yeah, great visuals.
Thanks dude!
Nice transition to the 3/4 section. Sounded like you changed the quarter note to five sixteenth notes or swim thing, it was smooth. Great track!
Thanks man! I take lot a pleasure to create this part!
Loving all of the vibes! You should put these all into a playlist on your channel so that we can vibe indefinitely to your tracks.
Thanks for your support! I'm gonna do it as soon as possible, I'm happy to read you like those weird vibes!
Very nice! Loving the visuals too.. I'll share this around!
Thanks a lot! Love your content, I'm very grateful!
Good stuff!
Thanks for taking the time to listen!
this is great. The mix is great, too.
Thanks for your support!