Thanks Cam!

“Dark” major thirds… Interesting! To my ears they sound more bright, if not raucous. No complaints though, that’s great that they give each of us different impressions!

​@@mr88cetthe original comment was about *minor* thirds, hence the disagreement. i also find the minor thirds especially dark and the major ones especially bright.

@@cellularautomaton. ah, good point!

34edo is better than 17edo. And 68edo is better still. They are extensions of 17edo, with the same fifth, but better thirds etcetera.

And it seems to get along with the other too flat tones

quartal and quintal harmony are some good secondary options!

I've been wanting the same thing. I need to hear 29 edo.

58edo is better than 29edo, if you like to go beyond the 3-limit into the 5-limit, 7-limit or 11-limit. It is an extension of 29edo, with the same fifth, fourth etcetera.

@@henrikljungstrand2036 the problem with 58edo is there's just too many notes for a guitar to have. 29 is already pushing it, you can't get much past the 29th fret before the frets get too close to be playable. Plus, I'm mostly interested in 29 edo for its non-harmonic sounds, while also having very pure 4ths and fifths. I'm probably just going to go fretless though.

@@henrikljungstrand2036 Multiples of 29 are quite cool, but I dig it on its own as a xen 'extension' of pythagorean tuning.

@@somepunkinthecomments471 If you think 58 is too many notes for a single instrument, then just watch the Qanun, which has 72 notes per octave iirc! For a guitar you can sort of solve the problem of too many bands per string, through using every other, or every third note etc of your edo, per string, and then tuning the open strings to each other in such a way that you get all (or most of) the other notes on other strings. This has been done for 41edo on the Kite guitar, which uses every other note of 41edo on each string ("20½edo"), keeping the most important melodic intervals between notes of one single string, while allowing other intervals in chords involving several strings. There is also a 31edo guitar, that has been played a bit by a few people (search for "transcendent tonality" or something like that), though i imagine it to be quite hard, since you need to find the right balance between too long a guitar neck for your arm, and too narrow bands for your fingers.

While 17edo is mainly useful for the 3-limit, 34edo is much better in the 5-limit. And 68edo is even better in the 7-limit. As a 5-limit system, 34edo is arguably better than 31edo, and way better than 24edo, 22edo, 19edo, 17edo or 12edo.

@@henrikljungstrand2036excuse-me please what is that you're talking about for different EDO temperaments ?! Or where can I learn more about this without wasting your time ?

Nah he's talking about shared frameworks for Arabic and Middle Eastern/near-Eastern music forms: Ibn Sina and al-Farabi came up with a bunch of really nice old tunings, there was a period where 17-tone Pythagorean was used, there was a bit of exploration on the neutral intervals, and later on, a 24-tone "quarter-tone" framework was sort of imposed on the musics of the region, although most of the practice wasn't really equally tempered at all. However, because of that, we've had about a century of people both inside and outside the Arabic world thinking that they're basically just using "quarter-tones" when the reality is a little different... Third-tones and the 17-tone framework is still more applicable in Iran than probably anywhere else.

@@camtaylormusic, ah, OK. Taken in the usual sense of quartertones as equal- or nearly-equal-temperament. So “before quartertone” in that sense doesn’t say much. But in the context you described, yes, that does have meaning.

17 tone UNEQUAL scales from the 13th century middle east. More or less Just Intonation scales. Not 17edo, that is much younger.

notice how i never said EDO anywhere? @@henrikljungstrand2036