24edo: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>
{{interwiki
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
| de = 24-EDO
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| en = 24edo
: The original revision id was <tt>525247380</tt>.<br>
| es = 24 EDO
: The revision comment was: <tt></tt><br>
| ja = 24平均律
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<h4>Original Wikitext content:</h4>
{{Infobox ET}}
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">&lt;span style="display: block; text-align: right;"&gt;Other languages: [[xenharmonie/24edo|Deutsch]]&lt;/span&gt;
{{ED intro}}
{{Wikipedia|Quarter tone}}


24edo is also known as '''quarter-tone tuning''', since it evenly divides the 12-tone equal tempered semitone in two. Quarter-tones are the most commonly used microtonal tuning due to its retention of the familiar 12 tones, since it is the smallest microtonal equal temperament that contains all the 12 notes, and also because of its use in theory and occasionally in practice in [[Arabic, Turkish, Persian music|Arabic music]].


[[media type="custom" key="11052600"]][[toc|flat]]
It is easy to jump into this tuning and make [[microtonal music]] right away using common 12 equal software and even instruments as illustrated in ''[[DIY Quartertone Composition with 12 equal tools]]''.


----
== Theory ==
=Basics=  
The [[5-limit]] approximations in 24edo are the same as those in 12edo, so 24edo offers nothing new as far as approximating the 5-limit is concerned.
The 24edo system divides the octave into 24 equal parts of exactly 50 cents each. It is also known as **quarter-tone tuning**, since it evenly divides the 12-tone equal tempered semitone in two. Quarter-tones are the most commonly used microtonal tuning due to its retention of the familiar 12 tones and since it is the smallest microtonal equal temperament that contains all the 12 notes, and also because of its use in theory and occasionally in practice in Arabic music. It is easy to jump into this tuning and make microtonal music right away using common 12 equal software and even instruments - [[DIY Quartertone Composition with 12 equal tools|see this page]].


=24edo as a temperament=
The 7th harmonic and its intervals ([[7/4]], [[7/5]], [[7/6]], and [[9/7]]) are almost as inaccurate in 24edo as in 12edo. To achieve a satisfactory level of approximation to intervals of 7 while maintaining the 12 notes of 12edo requires high-degree tunings like [[36edo|36et]], [[72edo|72et]], [[84edo|84et]], [[156edo|156et]], or [[192edo|192et]]. However, 24edo excels at the 11th harmonic and most intervals involving 11 ([[11/10]], [[11/9]], [[11/8]], [[11/6]], [[12/11]], [[15/11]], [[16/11]], [[18/11]], [[20/11]]). The 24-tone interval of 550 cents is 1.3 cents flatter than 11/8 and is almost indistinguishable from it. In addition, the interval approximating 11/9 is 7 steps which is exactly half the perfect fifth. 24edo is also good at the 13th harmonic, which makes it a good 2.3.5.11.13 system. Specifically, intervals of 13/5 are particularly well approximated. And of course, 24edo shares its 17 and 19 tunings with 12edo, meaning that 7 and to an extent 5 are the only low primes 24edo tunes particularly poorly.  
The [[Harmonic Limit|5-limit]] approximations in 24-tone equal temperament are the same as those in 12-tone equal temperament, therefore 24-tone equal temperament offers nothing new as far as approximating the 5-limit is concerned. The 7th harmonic-based intervals (7:4, 7:5 and 7:6) are just as bad in 24-tET as in 12-tET, although they are approximated by different intervals. To achieve a satisfactory level of approximation while maintaining the 12 notes of 12-tET requires high-degree tunings like 72-tET, 84-tET or 156-tET.


The tunings supplied by 72 cannot be used for all low-limit just intervals, but they can be used on the 17-limit [[k*N subgroups|3*24 subgroup]] 2.3.125.35.11.325.17 [[just intonation subgroup]], making some of the excellent approximations of 72 available in 24edo. Chords based on this subgroup afford considerable scope for harmony, including in particular intervals and chords using only 2, 3, 11 and 17. Another approach would be to treat 24-EDO as a 2.3.11.17.19 subgroup temperament, on which it is quite accurate.
While the 7th harmonic is poorly tuned, the intervals 24edo has do serve as reasonable substitutes to 7-limit intervals melodically: a supermajor chord is available at [0 9 14] and a subminor chord at [0 5 14], though they're more ultramajor and inframinor.


||~ [[#|Degree]] ||~ Cents ||~ Approximate Ratios* ||
The tunings supplied by [[72edo]] cannot be used for all low-limit just intervals, but they can be used on the 17-limit [[k*N subgroups|3*24&nbsp;subgroup]] 2.3.125.35.11.325.17 [[just intonation subgroup]], making some of the excellent approximations of 72 available in 24edo. Chords based on this subgroup afford considerable scope for harmony, including in particular intervals and chords using only 2, 3, 11, 17, and 19. Expanding this, one will find that 24edo is consistent in the no-7s 19-odd-limit, though the 2.3.11.17.19 [[subgroup]] is where it is the most accurate.
|| 0 || 0 ||= 1/1 ||
|| 1 || 50 ||= 33/32, 34/33 ||
|| 2 || 100 ||= 17/16, 18/17 ||
|| 3 || 150 ||= 12/11 ||
|| 4 || 200 ||= 9/8 ||
|| 5 || 250 ||= 22/19 ||
|| 6 || 300 ||= 19/16 ||
|| 7 || 350 ||= 11/9 ||
|| 8 || 400 ||= 24/19 ||
|| 9 || 450 ||= 22/17 ||
|| 10 || 500 ||= 4/3 ||
|| 11 || 550 ||= 11/8 ||
|| 12 || 600 ||= 17/12 ||
|| 13 || 650 ||= 16/11 ||
|| 14 || 700 ||= 3/2 ||
|| 15 || 750 ||= 17/11 ||
|| 16 || 800 ||= 19/12 ||
|| 17 || 850 ||= 18/11 ||
|| 18 || 900 ||= 32/19 ||
|| 19 || 950 ||= 19/11 ||
|| 20 || 1000 ||= 16/9 ||
|| 21 || 1050 ||= 11/6 ||
|| 22 || 1100 ||= 17/9, 32/17 ||
|| 23 || 1150 ||= 33/17, 64/33 ||
|| 24 || 1200 ||= 2/1 ||
*based on treating 24-EDO as a 2.3.11.17.19 subgroup; other approaches are possible.


The 11th harmonic, and intervals derived from it, (11:10, 11:9, 11:8, 11:6, 12:11, 15:11, 16:11, 18:11, 20:11) are very well approximated in 24-tone equal temperament. The 24-tone interval of 550 cents is 1.3 cents flatter than 11:8 and is almost indistinguishable from it. In addition, the interval approximating 11:9 is 7 steps which is exactly half the perfect fifth. Some good chords in 24-tET are (the numbers are degree numbers, e.g. 4 is a major second, 8 is a major third):
Its step, at 50 cents, is notable for being generally seen as one of the most dissonant intervals possible (in fact, typical harmonic entropy models show a peak around this point). Intervals less than 40 cents tend to be perceived as being closer to a unison, and thus, more consonant as a result, while intervals larger than approximately 60 cents are often perceived as having less "tension", and thus are also considered to be more consonant.


0-4-8-11-14 ("major" chord with a 9:8 and a 11:8 above the root)
=== Prime harmonics ===
Its inversion, 0-3-6-10-14 ("minor")
{{Harmonics in equal|24|prec=2}}
0-7-14 ("neutral")
0-5-10 (another kind of "neutral", splitting the fourth in two. The 0-5-10 can be extended into a pentatonic scale, 0-5-10-14-19-24 ([[godzilla]]), that is [[#|close]] to equi-pentatonic and also close to several Indonesian šlêndros. In a similar way 0-7-14 extends to 0-4-7-11-14-18-21-24 ([[mohajira]]), a heptatonic scale close to several Arabic scales.)


===Commas===  
=== Subsets and supersets ===
24 EDO tempers out the following commas. (Note: This assumes val &lt; 24 38 56 67 83 89 |.)
24edo is the 6th [[highly composite edo]]. Its nontrivial divisors are {{EDOs| 2, 3, 4, 6, 8, and 12 }}.
||~ Comma ||~ Monzo ||~ Value (Cents) ||~ Name 1 ||~ Name 2 ||~ Name 3 ||
||= 531441/524288 || | -19 12 &gt; ||&gt; 23.46 ||= Pythagorean Comma ||=  ||  ||
||= 648/625 || | 3 4 -4 &gt; ||&gt; 62.57 ||= Major Diesis ||= Diminished Comma ||  ||
||= 128/125 || | 7 0 -3 &gt; ||&gt; 41.06 ||= Diesis ||= Augmented Comma ||  ||
||= 81/80 || | -4 4 -1 &gt; ||&gt; 21.51 ||= Syntonic Comma ||= Didymos Comma || Meantone Comma ||
||= 2048/2025 || | 11 -4 -2 &gt; ||&gt; 19.55 ||= Diaschisma ||=  ||  ||
||= 5201701/5149091 || | 26 -12 -3 &gt; ||&gt; 17.60 ||= Misty Comma ||=  ||  ||
||= 32805/32768 || | -15 8 1 &gt; ||&gt; 1.95 ||= Schisma ||=  ||  ||
||= 1465155/1465142 || | 161 -84 -12 &gt; ||&gt; 0.02 ||= Atom ||=  ||  ||
||= 49/48 || | -4 -1 0 2 &gt; ||&gt; 35.70 ||= Slendro Diesis ||=  ||  ||
||= 245/243 || | 0 -5 1 2 &gt; ||&gt; 14.19 ||= Sensamagic ||=  ||  ||
||= 19683/19600 || | -4 9 -2 -2 &gt; ||&gt; 7.32 ||= Cataharry ||=  ||  ||
||= 6144/6125 || | 11 1 -3 -2 &gt; ||&gt; 5.36 ||= Porwell ||=  ||  ||
||= 121/120 || | -3 -1 -1 0 2 &gt; ||&gt; 14.37 ||= Biyatisma ||=  ||  ||
||= 176/175 || | 4 0 -2 -1 1 &gt; ||&gt; 9.86 ||= Valinorsma ||=  ||  ||
||= 896/891 || | 7 -4 0 1 -1 &gt; ||&gt; 9.69 ||= Pentacircle ||=  ||  ||
||= 243/242 || | -1 5 0 0 -2 &gt; ||&gt; 7.14 ||= Rastma ||=  ||  ||
||= 385/384 || | -7 -1 1 1 1 &gt; ||&gt; 4.50 ||= Keenanisma ||=  ||  ||
||= 9801/9800 || | -3 4 -2 -2 2 &gt; ||&gt; 0.18 ||= Kalisma ||= Gauss' Comma ||  ||
||= 91/90 || | -1 -2 -1 1 0 1 &gt; ||&gt; 19.13 ||= Superleap ||=  ||  ||
||= 676/675 || | 2 -3 -2 0 0 2 &gt; ||&gt; 2.56 ||= Parizeksma ||=  ||  ||
=Intervals=
The twelve new intervals (quartertones) in 24edo that are not found in 12edo are:
||||~ The twelve new intervals in 24edo ||||||~ some nearby JI intervals ||
||~ cents ||~ common names ||~ frequency ratio ||~ cents ||~ common name ||
||= 50 ||= subminor second, quartertone
arto second ||= [[36_35|36/35]]
[[35_34|35/34]]
[[34_33|34/33]]
[[33_32|33/32]] ||= 48.770
50.184
51.682
53.273 ||= large septimal quarter-tone (Archytas)
large 17-limit quartertone
small 17-limit quartertone
33rd harmonic ||
||= 150 ||= neutral second ||= [[12_11|12/11]] ||= 150.637 ||= large undecimal neutral second ||
||= 250 ||= supermajor second, tendo second,
subminor third, &lt;span style="line-height: 1.5;"&gt;arto third&lt;/span&gt; ||= [[144_125|144/125]]
[[15_13|15/13]]
[[52_45|52/45]] ||= 244.969
247.741
250.304 ||= diminished third (6/5 x 24/25)
..
.. ||
||= 350 ||= neutral third ||= [[11_9|11/9]]
[[27_22|27/22]]
[[16_13|16/13]] ||= 347.408
354.547
359.472 ||= undecimal neutral third
..
tridecimal neutral third ||
||= 450 ||= minor fourth, supermajor third, Under-fourth, Tendo Third ||= [[22_17|22/17]]
[[35_27|35/27]]
[[13_10|13/10]] ||= 446.363
449.275
454.214 ||= 17-limit supermajor third
..
tridecimal subfourth ||
||= 550 ||= major fourth, over-fourth ||= [[11_8|11/8]] ||= 551.318 ||= undecimal superfourth, harmonic 11th ||
||= 650 ||= minor fifth, Under-Fifth ||= [[16_11|16/11]] ||= 648.682 ||= undecimal subfifth, 11th subharmonic ||
||= 750 ||= major fifth, subminor sixth, arto sixth
Over-fifth, ||= [[20_13|20/13]]
[[54_35|54/35]]
[[17_11|17/11]] ||= 745.786
750.725
753.637 ||= tridecimal superfifth
..
17-limit subminor sixth ||
||= 850 ||= neutral sixth ||= [[13_8|13/8]]
[[44_27|44/27]]
[[18_11|18/11]] ||= 840.528
845.453
852.592 ||= overtone sixth, 13th harmonic
..
undecimal neutral sixth ||
||= 950 ||= supermajor sixth, tendo sixth, subminor seventh, arto seventh ||= [[45_26|45/26]]
[[26_15|26/15]]
[[125_72|125/72]] ||= 949.696
952.259
955.031 ||= ..
..
.. ||
||= 1050 ||= neutral seventh ||= [[11_6|11/6]] ||= 1049.363 ||= undecimal neutral seventh ||
||= 1150 ||= minor octave, supermajor seventh, tendo seventh ||= [[31_16|31/16]]
[[33_17|33/17]]
[[35_18|35/18]] ||= 1145.036
1148.318
1151.230 ||= 31st harmonic
..
.. ||


=Notation=  
== Intervals ==
{| class="wikitable center-all left-3"
|-
! Degree
! Cents
! Approximate ratios<ref group="note">{{sg|limit=2.3.5.11.13.17.19-[[subgroup]] (no-sevens 19-limit)}}</ref>
! colspan="3" | [[Ups and downs notation]] ([[Enharmonic unisons in ups and downs notation|EUs]]: vvA1 and d2)
! colspan="3" | [[SKULO interval names|SKULO notation]] {{nowrap|(U or S {{=}} 1)}}
! [[24edo solfege|Solfege]]
|-
| 0
| 0
| 1/1
| P1
| unison
| D
| unison
| P1
| D
| Do
|-
| 1
| 50
| 33/32, 34/33
| ^P1, vm2
| up-unison, downminor 2nd
| ^D, vEb
| super unison, uber unison
| S1, U1
| SD, UD
| Da/Ru
|-
| 2
| 100
| 16/15, 17/16, 18/17, 19/18
| A1, m2
| aug unison, minor 2nd
| D#, Eb
| aug unison, minor 2nd
| A1, m2
| D#, Eb
| Ro
|-
| 3
| 150
| 13/12, 12/11, 11/10
| ~2
| mid 2nd
| vE
| neutral 2nd
| N2
| UEb, uE
| Ra
|-
| 4
| 200
| 9/8, 10/9
| M2
| major 2nd
| E
| major 2nd
| M2
| E
| Re
|-
| 5
| 250
| 15/13, 22/19
| ^M2, vm3
| upmajor 2nd, downminor 3rd
| ^E, vF
| supermajor 2nd, subminor 3rd
| SM2, sm3
| SE, sF
| Ri/Mu
|-
| 6
| 300
| 6/5, 13/11, 19/16
| m3
| minor 3rd
| F
| minor 3rd
| m3
| F
| Mo
|-
| 7
| 350
| 11/9, 16/13, 27/22, 39/32
| ~3
| mid 3rd
| vF#
| neutral 3rd
| N3
| UF, uF#
| Ma
|-
| 8
| 400
| 5/4, 24/19
| M3
| major 3rd
| F#
| major 3rd
| M3
| F#
| Me
|-
| 9
| 450
| 13/10, 17/13, 22/17
| ^M3, v4
| upmajor 3rd, down-4th
| ^F#, vG
| supermajor 3rd, sub 4th
| SM3, s4
| SF#, sG
| Mi/Fu
|-
| 10
| 500
| 4/3
| P4
| fourth
| G
| perfect 4th
| P4
| G
| Fo
|-
| 11
| 550
| 11/8, 15/11
| ^4, ~4
| up-4th, mid-4th
| ^G
| uber 4th/neutral 4th
| U4/N4
| UG
| Fa/Su
|-
| 12
| 600
| 17/12, 24/17, 45/32, 64/45
| A4, d5
| aug 4th, dim 5th
| G#, Ab
| aug 4th, dim 5th
| A4, d5
| G#/Ab
| Fe/So
|-
| 13
| 650
| 16/11, 22/15
| v5, ~5
| down-5th, mid-5th
| vA
| unter 5th/neutral 5th
| u5/N5
| uA
| Fi/Sa
|-
| 14
| 700
| 3/2
| P5
| fifth
| A
| perfect 5th
| P5
| A
| Se
|-
| 15
| 750
| 17/11, 20/13
| ^5, vm6
| up-fifth, downminor 6th
| ^A, vBb
| super 5th, subminor 6th
| S5, sm6
| SA, sBb
| Si/Lu
|-
| 16
| 800
| 8/5, 19/12
| m6
| minor 6th
| Bb
| minor 6th
| m6
| Bb
| Lo
|-
| 17
| 850
| 13/8, 18/11, 44/27, 64/39
| ~6
| mid 6th
| vB
| neutral 6th
| N6
| UBb, uB
| La
|-
| 18
| 900
| 5/3, 22/13, 32/19
| M6
| major 6th
| B
| major 6th
| M6
| B
| Le
|-
| 19
| 950
| 19/11, 26/15
| ^M6, vm7
| upmajor 6th, downminor 7th
| ^B, vC
| supermajor 6th, subminor 7th
| SM6, sm7
| SB, sC
| Li/Tu
|-
| 20
| 1000
| 9/5, 16/9
| m7
| minor 7th
| C
| minor 7th
| m7
| C
| To
|-
| 21
| 1050
| 11/6, 20/11
| ~7
| mid 7th
| vC#
| neutral 7th
| N7
| UC, uC#
| Ta
|-
| 22
| 1100
| 15/8, 17/9, 32/17
| M7
| major 7th
| C#
| major 7th
| M7
| C#
| Te
|-
| 23
| 1150
| 33/17, 64/33
| ^M7, vP8
| upmajor 7th, down-8ve
| ^C#, vD
| sub 8ve, unter 8ve
| s8, u8
| C#, uD
| Ti/Du
|-
| 24
| 1200
| 2/1
| P8
| perfect 8ve
| D
| perfect 8ve
| P8
| D
| Do
|}


There have been disputes about disadvantages of various systems for notating quarter tones. Here are some of the few systems along with pros and cons.
In many other edos, 5/4 is downmajor and 11/9 is mid. To agree with this, the term mid is generally preferred over down or downmajor.
**Mainstream Quartertone Notation**
[[image:http://www.wfg.woodwind.org/n/s14_blue.gif]] or ^ = quarter-tone sharp or "Jump"
[[image:http://www.wfg.woodwind.org/n/s34_blue.gif]] or #^ = three-quarter-tone sharp or "Jump-Sharp"
[[image:http://www.wfg.woodwind.org/n/f14_blue.gif]] or v = quarter-tone flat or "Drop"
[[image:http://www.wfg.woodwind.org/n/f34_blue.gif]] or bv = three-quarter-tone flat or "Drop-Flat"


Pros: Familiar, fairly easy to learn
== Notation ==
Cons: Clutters a score easily, can get confusing when sight read at faster paces
=== Ups and downs notation ===
Ups and downs are spoken as up, sharp, upsharp, etc. Note that up can be respelled as downsharp.
{{sharpness-sharp2a|24}}


**Alternate Quartertone Accidentals**
=== Stein–Zimmermann accidentals ===
[[image:http://faculty.mansfield.edu/jmurphy/oldsite/quartertonesharp.gif]] = quarter-tone sharp or Jump
{{Sharpness-sharp2|24}}
††† (the horizontal line should connect all three vertical lines) = three quarter-tones sharp or Jump-Sharp
[[image:http://www.dolmetsch.com/onequarterflat.gif]] = quarter-tone flat or Drop
[[image:http://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Arabic_music_notation_half_flat.svg/9px-Arabic_music_notation_half_flat.svg.png]] = three quarter-tones flat or drop-flat
For example, the scale 0-5-10-15-20 is written as C-D[[image:http://faculty.mansfield.edu/jmurphy/oldsite/quartertonesharp.gif]] (or E[[image:http://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Arabic_music_notation_half_flat.svg/9px-Arabic_music_notation_half_flat.svg.png]]) F G[[image:http://faculty.mansfield.edu/jmurphy/oldsite/quartertonesharp.gif]] (or A[[image:http://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Arabic_music_notation_half_flat.svg/9px-Arabic_music_notation_half_flat.svg.png]]) Bb.


Pros: Very easy to distinguish accidentals from one another
{| class="wikitable center-1"
Cons: Not practical, tends to clutter a score
|-
| style="width: 40px;" | [[File:HeQu1.svg|21px|center]]
| A "semisharp" or "half-sharp" accidental comprising one half of a regular musical sharp symbol.
|-
| style="width: 40px;" | [[File:HeQu3.svg|32px|center]]
| A "sharp and a half" or "sesquisharp" accidental, comprising the above half-sharp symbol connected to the right side of a normal sharp.
|-
| style="width: 40px;" | [[File:HeQd1.svg|22px|center]]
| A "semiflat" or "half-flat" accidental, comprising a flat symbol mirrored horizontally so that the lobe is facing left.
|-
| style="width: 40px;" | [[File:HeQd3.svg|36px|center]]
| A "flat and a half" or "sesquiflat" accidental, comprising a half-flat symbol and a regular flat symbol placed back to back.
|}


**&lt;span style="line-height: 1.5;"&gt;And in Persian music&lt;/span&gt;**
'''Pros:''' familiar, intuitive, and fairly easy to learn.  
[[image:http://upload.wikimedia.org/wikipedia/commons/thumb/3/31/Koron_sign.svg/200px-Koron_sign.svg.png width="12" height="25"]]Koron ([[http://en.wikipedia.org/wiki/Koron_%28music%29|en]] | [[http://fa.wikipedia.org/wiki/%DA%A9%D8%B1%D9%86|fa]]) = quarter-tone flat or Jump
[[image:http://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Sori_sign.svg/200px-Sori_sign.svg.png width="15" height="25"]]Sori ([[http://fa.wikipedia.org/wiki/%D8%B3%D8%B1%DB%8C_%28%D9%85%D9%88%D8%B3%DB%8C%D9%82%DB%8C%29|fa]]) = quarter-tone sharp or Drop


Pros: Easy to read
'''Cons:''' can clutter a score easily (especially when used in microtonal key signatures), can get confusing when sight read at faster paces.
Cons: Hard to write on a computer, doesn't fit with standard notation well


==Sagittal Notation==  
=== Persian quartertone accidentals ===
{{Wikipedia|Koron (music)|Sori (music)}}


Sagittal notation works extremely well for 24 Edo notation as well as other systems
{| class="wikitable"
It's easy on the eyes, easy to recognize the various symbols and keeps a score looking tidy and neat.
|-
A possibility for the best approach would be to not use traditional sharps and flats altogether and replace them
| width="40px" | [[File:Koron_sign.svg|39px|center]]
with Sagittal signs for sharp and flat.
| '''Koron''' = quarter-tone flat
[[image:sagittal 24.PNG]]
|-
=Interval Alterations=
| width="40px" | [[File:Sori_sign.svg|39px|center]]
| '''Sori''' = quarter-tone sharp
|}


The special alterations of the intervals and chords of 12 equal can be notated like this:
'''Pros:''' easy to read.


Supermajor or "**Tendo**" is a major interval raised a quarter tone
'''Cons:''' hard to write on a computer, does not fit with standard notation well.
Subminor or "**Arto**" is a minor interval lowered a quarter tone
Neutral are intervals that exist between the major and minor version of an interval
The prefix **under** indicates a perfect interval lowered by one quarter tone
The prefix **over** indicates a perfect interval raised by a quarter tone


The Latin words "tendo" (meaning "expand") and "arto" (meaning "contract") can be used to replace the words "supermajor" and "subminor" in order to shorten the names of the intervals.
=== Sagittal notation ===
This notation uses the same sagittal sequence as edos [[17edo #Sagittal notation|17]], [[31edo #Sagittal notation|31]], and [[38edo #Sagittal notation|38]], is a subset of the notations for edos [[48edo #Sagittal notation|48]] and [[72edo #Sagittal notation|72]], and is a superset of the notations for edos [[12edo #Sagittal notation|12]], [[8edo #Sagittal notation|8]], and [[6edo #Sagittal notation|6]].


=Chord Structures=  
==== Evo flavor ====
24edo features a rich variety on not only new chords, but also alterations that can be used with regular 12 Edo chords. For example, an approximation of the ninth, eleventh, and thirteenth harmonic can be added to a major triad to create a sort of super-extended chord structure of a major chord: 4:5:6:9:11:13.
<imagemap>
File:24-EDO_Evo_Sagittal.svg
desc none
rect 80 0 300 50 [[Sagittal_notation]]
rect 447 0 607 80 [https://sagittal.org#periodic-table Periodic table of EDOs with sagittal notation]
rect 20 80 130 106 [[33/32]]
default [[File:24-EDO_Evo_Sagittal.svg]]
</imagemap>


As for entirely new chords, 24edo features many possibilities for chords. The most obvious is the neutral triad 0-7-14 however there are other options such as
==== Revo flavor ====
0-9-14 (Tendo Triad) and 0-5-14 (Arto Triad), the chord names being based on what kind of third is in the chord.
<imagemap>
These chords though tend to lack the forcefulness to sound like resolved, tonal sonorities but can be resolved of that issue by using tetrads in place of triads.
File:24-EDO_Revo_Sagittal.svg
For example, the neutral triad can have the neutral 7th added to it to make a full neutral tetrad: 0-7-14-21. However, another option is to replace the neutral third with an 11/8 to produce a sort of 11 limit neutral tetrad. 0-14-21-35 William Lynch considers this chord to be the most consonant tetrad in 24edo involving a neutral tonality. 24 edo also is very good at 15 limit and does 13 quite well allowing barbodos 10:13:15 and barbodos minor triad 26:30:39 to be used as an entirely new harmonic system. See Arto and Tendo Theory
desc none
rect 80 0 300 50 [[Sagittal_notation]]
rect 463 0 623 80 [https://sagittal.org#periodic-table Periodic table of EDOs with sagittal notation]
rect 20 80 130 106 [[33/32]]
default [[File:24-EDO_Revo_Sagittal.svg]]
</imagemap>


William Lynch considers these as some possible good tetrads:
==== Evo-SZ flavor ====
<imagemap>
File:24-EDO_Evo-SZ_Sagittal.svg
desc none
rect 80 0 300 50 [[Sagittal_notation]]
rect 407 0 567 80 [https://sagittal.org#periodic-table Periodic table of EDOs with sagittal notation]
rect 20 80 130 106 [[33/32]]
default [[File:24-EDO_Evo-SZ_Sagittal.svg]]
</imagemap>
 
Because it contains no Sagittal symbols, this Evo-SZ Sagittal notation is identical to [[#Stein.E2.80.93Zimmermann_accidentals|Stein–Zimmerman notation]].
 
==== Pros and cons ====
Revo [[Sagittal notation]] works extremely well for 24edo notation as well as other systems. It is easy on the eyes, easy to recognize the various symbols and keeps a score looking tidy and neat. A possibility for the best approach would be to not use traditional sharps and flats altogether and replace them with Sagittal signs for sharp and flat.
 
[[File:sagittal_24.PNG|alt=sagittal 24.PNG|sagittal 24.PNG]]
 
'''Pros:''' easy to read, and less likely to clutter the score.
 
'''Cons:''' not as familiar as traditional notation, and thus not immediately accessible to many traditional musicians who are just starting out with microtonality.
 
 
We also have, from the appendix to [[The Sagittal Songbook]] by [[Jacob Barton|Jacob A. Barton]], a diagram of how to notate 24edo in the Revo flavor of Sagittal:
 
[[File:24edo Sagittal.png|800px]]
 
== Interval and chord naming ==
==== Combining ups and downs with color notation ====
Combining ups and downs notation with [[color notation]], qualities can be loosely associated with colors:
 
{| class="wikitable center-all"
|-
! Quality
! [[Color name]]
! Monzo format
! Examples
|-
| downminor
| zo
| {{nowrap|(a, b, 0, 1)}}
| 7/6, 7/4
|-
| rowspan="2" | minor
| fourthward wa
| {{nowrap|(a, b)}}; {{nowrap|b < −1}}
| 32/27, 16/9
|-
| gu
| {{nowrap|(a, b, −1)}}
| 6/5, 9/5
|-
| rowspan="2" | mid
| ilo
| {{nowrap|(a, b, 0, 0, 1)}}
| 11/9, 11/6
|-
| lu
| {{nowrap|(a, b, 0, 0, −1)}}
| 12/11, 18/11
|-
| rowspan="2" | major
| yo
| {{nowrap|(a, b, 1)}}
| 5/4, 5/3
|-
| fifthward wa
| {{nowrap|(a, b)}}; {{nowrap|b > 1}}
| 9/8, 27/16
|-
| upmajor
| ru
| {{nowrap|(a, b, 0, −1)}}
| 9/7, 12/7
|}
 
Ups and downs notation can be used to name chords. See [[24edo Chord Names]] and [[Ups and downs notation #Chords and chord progressions]].
 
=== William Lynch's interval and chord names ===
24edo breaks intervals into two sets of five categories. {{dash|Infra, Minor, Neutral, Major, Ultra|space|med}} for seconds, thirds, sixths, and sevenths; and {{dash|diminished, narrow, perfect, wide, augmented|space|med}} for fourths, fifths, unison, and octave.
 
For other strange enharmonics, wide and narrow can be used in conjunction with augmented and diminished intervals such as 550 cents being called a narrow diminished fifth and 850 cents being called a wide augmented fifth.


[[image:Three chords.PNG]]
These are the intervals of 24edo that do not exist in 12edo:


||~ Chord name ||~ Degrees of 24edo ||~ Chord spelling ||~ Audio example ||
{| class="wikitable center-all right-6"
|| neutral || 0 7 14 21 || 1 v3 5 v7 || [[media type="file" key="Neutral Tetrad on C.mp3" width="200" height="30"]] ||
|-
|| arto || 0 5 14 20 || 1 bv3 5 b7 || [[media type="file" key="arto tetrad on C.mp3" width="200" height="30"]] ||
! [[Cent]]s
|| tendo || 0 9 14 19 || 1 ^3 5 bv7 || ... ||
! Names
|-
| 50
| Quarter tone, infra second, wide unison
|-
| 150
| Neutral second
|-
| 250
| Ultra second, infra third
|-
| 350
| Neutral third
|-
| 450
| Minor fourth, ultra third, narrow fourth
|-
| 550
| Wide fourth
|-
| 650
| Narrow fifth
|-
| 750
| Wide fifth, infra sixth
|-
| 850
| Neutral sixth
|-
| 950
| Ultra sixth, infra seventh
|-
| 1050
| Neutral seventh
|-
| 1150
| Ultra seventh, narrow octave
|}


==== Interval alterations ====
The special alterations of the intervals and chords of 12edo can be notated like this:


=Naming Chords in 24edo=
* Supermajor or "'''Tendo'''" is a major interval raised a quarter tone
* Subminor or "'''Arto'''" is a minor interval lowered a quarter tone
* Neutral are intervals that exist between the major and minor version of an interval
* The prefix '''under''' indicates a perfect interval lowered by one quarter tone
* The prefix '''over''' indicates a perfect interval raised by a quarter tone
* The Latin words "tendo" (meaning "expand") and "arto" (meaning "contract") can be used to replace the words "supermajor" and "subminor" in order to shorten the names of the intervals.


==== Chord names ====
Naming chords in 24edo can be achieved by adding a few things to the already [[#|existing]] set of terms that are used to name 12edo chords.
Naming chords in 24edo can be achieved by adding a few things to the already [[#|existing]] set of terms that are used to name 12edo chords.
They are:
They are:
Super + perfect interval such as "perfect fifth" means to raise it by a quarter tone
 
Sub + perfect interval means to lower a quarter tone
* Super + perfect interval such as "perfect fifth" means to raise it by a quarter tone
Sharp is to raise by one half tone
* Sub + perfect interval means to lower a quarter tone
Flat is to raise by a half tone
* Sharp is to raise by one half tone
Neutral, arto and tendo refer to triads or tetrads
* Flat is to raise by a half tone
Neutral, arto, or tendo + interval name of 2nd, 3rd, 6th, or 7th is to alter respectively
* Neutral, arto and tendo refer to triads or tetrads
* Neutral, arto, or tendo + interval name of 2nd, 3rd, 6th, or 7th is to alter respectively


Examples:
Examples:
Neutral Super Eleventh or neut^11 = C neutral 7th chord with a super 11th thrown on top
Arto Sub Seventh Tendo Thirteenth or artsub7^13 = Arto tetrad with an arto seventh and a tendo thirteenth on top Minor Seventh Flat Five Arto Ninth Super Eleventh or m7b5^9^11


* Neutral Super Eleventh or neut^11 = C neutral 7th chord with a super 11th thrown on top
* Arto Sub Seventh Tendo Thirteenth or artsub7^13 = Arto tetrad with an arto seventh and a tendo thirteenth on top Minor Seventh Flat Five Arto Ninth Super Eleventh or m7b5^9^11


=Rank two temperaments=  
=== Further discussion of interval and chord naming ===
[[List of 24et rank two temperaments by badness]]
{{main|{{PAGENAME}}/Interval names and harmonies }}
[[List of edo-distinct 24et rank two temperaments]]


||~ Periods per octave ||~ Generator ||~ Name ||
* [[24edo Chord Names]]
|| 1 || 1\24 ||  ||
* [[Ups and downs notation#Chords and Chord Progressions]].
|| 1 || 5\24 || [[Semaphore and Godzilla|Semaphore/godzilla]] / [[Chromatic pairs#Bridgetown|Bridgetown]] ||
|| 1 || 7\24 || [[Mohajira]] (or [[maqamic]] with 24d val) ||
|| 1 || 11\24 ||  ||
|| 2 || 1\24 || [[Shrutar]] ||
|| 2 || 5\24 || Similar to [[decimal]] ||
|| 3 || 1\24 || [[Semiaug]] ||
|| 3 || 3\24 || [[Triforce]] ||
|| 4 || 1\24 ||  ||
|| 6 || 1\24 ||  ||
|| 8 || 1\24 ||  ||
|| 12 || 1\24 || [[Catler]] ||
=Scales / Modes=
||||~ ====Pentatonic:==== ||
|| {{**2 8 3 6 5**}} || Anchihoye: Ethiopia ||
|| {{**5 5 4 5 5**}} || Quasi-equal Pentatonic - [[MOSScales|MOS]] of type [[4L 1s|4L 1s (bug)]] ||
|| {{**5 5 5 5 4**}} || Hába's Pentatonic - [[MOSScales|MOS]] of type [[4L 1s|4L 1s (bug)]] ||


||||~ ====Hexatonic:==== ||
== Approximation to JI ==
|| {{**1 1 8 4 2 8**}} || Spondeiakos ||
[[File:24ed2.svg|250px|thumb|right|none|alt=alt : Your browser has no SVG support.|Selected 19-limit intervals approximated in 24edo]]


||||~ ====Heptatonic:==== ||
=== Interval mappings ===
|| {{**1 1 8 1 1 8 4**}} || Enharmonic Mixolydian ||
{{Q-odd-limit intervals|24}}
|| {{**1 8 1 1 8 4 1**}} || Enharmonic Lydian ||
|| {{**8 1 1 8 4 1 1**}} || Enharmonic Phrygian ||
|| {{**1 1 8 4 1 1 8**}} || Enharmonic Dorian ||
|| {{**1 8 4 1 1 8 1**}} || Enharmonic Hypolydian ||
|| {{**8 4 1 1 8 1 1**}} || Enharmonic Hypophrygian ||
|| {{**4 1 1 8 1 1 8**}} || Enharmonic Hypodorian ||
|| {{**2 3 5 2 3 5 4**}} || Soft Diatonic Mixolydian ||
|| {{**3 5 2 3 5 4 2**}} || Soft Diatonic Lydian ||
|| {{**5 2 3 5 4 2 3**}} || Soft Diatonic Phrygian ||
|| {{**2 3 5 4 2 3 5**}} || Soft Diatonic Dorian ||
|| {{**3 5 4 2 3 5 2**}} || Soft Diatonic Hypolydian ||
|| {{**5 4 2 3 5 2 3**}} || Soft Diatonic Hypophrygian ||
|| {{**4 2 3 5 2 3 5**}} || Soft Diatonic Hypodorian ||
|| {{**3 3 4 3 3 4 4**}} || Maqam Ouchairan-Hussaini, Bayatan, Neutral Diatonic Mixolydian - [[MODMOS Scales|MODMOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**3 4 3 3 4 4 3**}} || Dastgah-e Sehgah, Neutral Diatonic Lydian - [[xenharmonic/MODMOS Scales|MODMOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**4 3 3 4 4 3 3**}} || Arabic Diatonic, Maqam Rast, Quasi-equal Heptatonic, Neutral Diatonic Phrygian - [[xenharmonic/MODMOS Scales|MODMOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**3 3 4 4 3 3 4**}} || Maqam Hussaini, Ushaq, Neutral Diatonic Dorian - [[xenharmonic/MODMOS Scales|MODMOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**3 4 4 3 3 4 3**}} || Maqam Sikah (Segah), Neutral Diatonic Hypolydian - [[xenharmonic/MODMOS Scales|MODMOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**4 4 3 3 4 3 3**}} || Neutral Diatonic Hypophrygian - [[xenharmonic/MODMOS Scales|MODMOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**4 3 3 4 3 3 4**}} || Miha'il Musaqa's mode: Egypt, Neutral Diatonic Hypodorian, Dastgah-e Sehgah, Maqam Nairuz - [[xenharmonic/MODMOS Scales|MODMOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**1 5 4 1 5 4 4**}} || Diatonic + Enharmonic Diesis Mixolydian ||
|| {{**5 4 1 5 4 4 1**}} || Diatonic + Enharmonic Diesis Lydian ||
|| {{**4 1 5 4 4 1 5**}} || Diatonic + Enharmonic Diesis Phrygian ||
|| {{**1 5 4 4 1 5 4**}} || Diatonic + Enharmonic Diesis Dorian ||
|| {{**5 4 4 1 5 4 1**}} || Diatonic + Enharmonic Diesis Hypolydian ||
|| {{**4 4 1 5 4 1 5**}} || Diatonic + Enharmonic Diesis Hypophrygian ||
|| {{**4 1 5 4 1 5 4**}} || Diatonic + Enharmonic Diesis Hypodorian ||
|| {{**1 3 6 1 3 6 4**}} || Chromatic/Enharmonic Mixolydian ||
|| {{**3 6 1 3 6 4 1**}} || Chromatic/Enharmonic Lydian ||
|| {{**6 1 3 6 4 1 3**}} || Chromatic/Enharmonic Phrygian ||
|| {{**1 3 6 4 1 3 6**}} || Chromatic/Enharmonic Dorian ||
|| {{**3 6 4 1 3 6 1**}} || Chromatic/Enharmonic Hypolydian ||
|| {{**6 4 1 3 6 1 3**}} || Chromatic/Enharmonic Hypophrygian ||
|| {{**4 1 3 6 1 3 6**}} || Chromatic/Enharmonic Hypodorian ||
|| {{**3 4 3 3 4 3 4**}} || Neutral Mixolydian - [[MOSScales|MOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**4 3 3 4 3 4 3**}} || Neutral Lydian - [[MOSScales|MOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**3 3 4 3 4 3 4**}} || Neutral Phrygian - [[MOSScales|MOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**3 4 3 4 3 4 3**}} || Neutral Dorian, Misaelides 2nd Byzantine mode, Maqam Sikah Baladi - [[MOSScales|MOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**4 3 4 3 4 3 3**}} || Neutral Hypolydian - [[MOSScales|MOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**3 4 3 4 3 3 4**}} || Neutral Hypophrygian - [[MOSScales|MOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**4 3 4 3 3 4 3**}} || Neutral Hypodorian - [[MOSScales|MOS]] of type [[3L 4s|3L 4s (mosh)]] ||
|| {{**3 5 2 4 3 5 2**}} || Athanasopoulos' Byzantine Liturgical Chromatic, Dastgah-e Chahargah ||
|| {{**4 2 4 4 3 3 4**}} || Dastgah-e Nava, Maqam Ushaq Masri ||
|| {{**2 7 1 4 2 7 1**}} || Second plagal Byzantine Liturgical mode ||
|| {{**3 3 4 4 2 4 4**}} || Maqam 'Ushshaq Turki, Urfa, Isfahan, Dastgah-e Shur ||
|| {{**3 3 4 4 4 2 4**}} || Maqam Nahfat ||
|| {{**3 3 2 6 2 4 4**}} || Maqam Saba ||
|| {{**3 3 2 6 2 6 2**}} || Maqam Sabr Jadid ||
|| {{**4 3 3 4 2 6 2**}} || Maqam Suznak (Soznak) ||
|| {{**4 3 3 4 4 4 2**}} || Maqam Mahur ||
|| {{**3 3 4 2 6 2 4**}} || Maqam Qarjighar, Bayati Shuri ||
|| {{**3 4 2 6 2 4 3**}} || Maqam Hizam (Huzam, El Houzam), Rahat al Arouah ||
|| {{**2 4 4 4 3 3 4**}} || Maqam Nawa ||
|| {{**2 5 3 4 2 5 3**}} || Maqam Higaz-kar ||
|| {{**3 4 4 2 4 4 3**}} || Maqam Su'ar, Naghmeh Abuata, Naghmeh Afshari ||
|| {{**4 4 2 4 4 3 3**}} || Maqam Jahargah (Jiharkah), Naghmeh Bayat-e Tork, Naghmeh Dashti ||
|| {{**3 5 2 4 2 4 4**}} || Dastgah-e Homayun ||
|| {{**4 2 4 4 3 5 2**}} || Naghmeh Esfahan ||
|| {{**3 6 1 5 2 6 1**}} || Maqam 'Awg 'ara (Aug-ara) ||
|| {{**4 1 5 4 2 6 2**}} || Maqam Buselik ||
|| {{**4 2 6 2 2 5 3**}} || Maqam Neuter ||
|| {{**4 3 3 4 4 2 4**}} || Dance scale of Yi people: China ||
|| {{**4 4 2 3 1 4 6**}} || Daniel-mode of Spanish-Arab Jews ||


||||~ ====Octatonic:==== ||
== Regular temperament properties ==
|| {{**3 3 3 3 3 3 3 3**}} || 8-equal, Wyschnegradsky's octatonic ||
{| class="wikitable center-4 center-5 center-6"
|| {{**3 3 4 4 2 1 3 4**}} || Maqam Bayati ||
|-
|| {{**3 3 2 6 2 4 2 2**}} || Maqam Saba ||
! rowspan="2" | [[Subgroup]]
|| {{**4 3 1 2 4 4 2 4**}} || Maqam Suzidil 'ara ||
! rowspan="2" | [[Comma list]]
|| {{**3 3 2 2 4 3 3 4**}} || Maqam Mansuri ||
! rowspan="2" | [[Mapping]]
|| {{**4 3 3 4 4 2 1 3**}} || Maqam Rast, Dilkashidah, Dilnishin ||
! rowspan="2" | Optimal<br>8ve stretch (¢)
|| {{**3 4 2 6 2 4 2 1**}} || Maqam Rahat al-Arwah ||
! colspan="2" | Tuning error
|| {{**3 4 3 3 4 4 2 1**}} || Maqam Iraq ||
|-
|| {{**2 6 2 4 2 1 3 4**}} || Maqam Hijaz ||
! [[TE error|Absolute]] (¢)
|| {{**3 4 4 2 1 3 4 3**}} || Maqam Musta'ar ||
! [[TE simple badness|Relative]] (%)
|| {{**3 4 4 4 2 4 2 1**}} || Maqam Farahnak ||
|-
|| {{**3 4 3 3 2 6 2 1**}} || Maqam Bastanikar, Tarz Nuin ||
| 2.3.5.11
|| {{**4 2 6 2 4 2 1 3**}} || Maqam Farah Faza, Maqam Nakriz ||
| 81/80, 121/120, 128/125
|| {{**3 1 2 4 4 2 4 4**}} || Maqam Jabburi ||
| {{mapping| 24 38 56 83 }}
|| {{**1 4 4 2 4 4 4 1**}} || Giancarlo Dalmonte's new quarter-tone scale (see [[http://www.ottavanota.info/|http://www.ottavanota.info]]) ||
| −1.08
| 2.82
| 5.63
|-
| 2.3.5.11.13
| 66/65, 81/80, 128/125, 144/143
| {{mapping| 24 38 56 83 89 }}
| −1.37
| 2.59
| 5.19
|-
| 2.3.5.11.13.17
| 51/50, 66/65, 81/80, 128/125, 144/143
| {{mapping| 24 38 56 83 89 98 }}
| −0.94
| 2.55
| 5.11
|-
| 2.3.5.11.13.17.19
| 51/50, 66/65, 76/75, 81/80, 128/125, 144/143
| {{mapping| 24 38 56 83 89 98 102 }}
| −0.89
| 2.37
| 4.74
|}


||||~ ====Enneatonic:==== ||
=== Uniform maps ===
|| {{**1 2 3 4 4 1 2 3 4**}} || Progressive Enneatonic ||
{{Uniform map|edo=24}}
|| {{**4 1 4 1 4 1 4 1 4**}} || de Vries 9-tone - [[MOSScales|MOS]] of type [[5L 4s|5L 4s (unfair bug)]] ||
|| {{**3 4 2 2 2 2 2 4 3**}} || Maqam Huzam ||
|| {{**4 4 2 1 3 2 2 4 2**}} || Maqam Shawq Afza ||


||||~ ====Decatonic:==== ||
=== Commas ===
|| {{**2 3 2 3 2 2 3 2 3 2**}} || Young Decatonic - [[MOSScales|MOS]] of type [[4L 5s|4L 5s (fair bug)]] ||
This is a partial list of the [[commas]] that 24edo [[tempering out|tempers out]] with its patent [[val]], {{val| 24 38 56 67 83 89 }}.
|| {{**2 2 1 2 2 2 1 2 2 1 2 2 2 1**}} || Young Half-Octave Diatonic - [[MOSScales|MOS]] of type [[10L 4s]] ||
|| {{**3 1 3 3 3 1 3 3 1 3**}} || Breed Decatonic - [[MOSScales|MOS]] of type [[7L 3s|7L 3s (unfair mosh)]] ||
|| {{**2 3 2 2 3 2 3 2 2 3**}} || Oljare Decatonic - [[MOSScales|MOS]] of type [[4L 6s|4L 6s (fair bicycle)]] ||
|| {{**2 1 3 2 2 4 2 4 2 2**}} || Maqam Shawq Tarab ||
|| {{**4 2 1 3 2 2 4 2 1 3**}} || Maqam Basandida ||
|| {{**4 3 1 2 1 3 4 2 1 3**}} || Maqam Yakah ||


||||~ ====Hendecatonic:==== ||
{| class="commatable wikitable center-1 center-2 right-4 center-5"
|| {{**4 2 1 3 2 2 2 2 3 1 2**}} || Maqam Hayyan ||
|-
! [[Harmonic limit|Prime<br>limit]]
! [[Ratio]]<ref group="note">{{rd}}</ref>
! [[Monzo]]
! [[Cent]]s
! [[Color name]]
! Name(s)
|-
| 3
| <abbr title="531441/524288">(12 digits)</abbr>
| {{monzo| -19 12 }}
| 23.46
| Lalawa
| [[Pythagorean comma]]
|-
| 5
| [[648/625]]
| {{monzo| 3 4 -4 }}
| 62.57
| Quadgu
| Diminished comma, greater diesis
|-
| 5
| <abbr title="262144/253125">(12 digits)</abbr>
| {{monzo| 18 -4 -5 }}
| 60.61
| Saquingu
| [[Passion comma]]
|-
| 5
| [[128/125]]
| {{monzo| 7 0 -3 }}
| 41.06
| Trigu
| Augmented comma, lesser diesis
|-
| 5
| [[81/80]]
| {{monzo| -4 4 -1 }}
| 21.51
| Gu
| Syntonic comma, Didymus' comma, meantone comma
|-
| 5
| [[2048/2025]]
| {{monzo| 11 -4 -2 }}
| 19.55
| Sagugu
| Diaschisma
|-
| 5
| [[67108864/66430125| (16 digits)]]
| {{monzo| 26 -12 -3 }}
| 17.60
| Sasa-trigu
| [[Misty comma]]
|-
| 5
| [[32805/32768]]
| {{monzo| -15 8 1 }}
| 1.95
| Layo
| Schisma
|-
| 5
| <abbr title="2923003274661805836407369665432566039311865085952/2922977339492680612451840826835216578535400390625">(98 digits)</abbr>
| {{monzo| 161 -84 -12 }}
| 0.02
| Sepbisa-quadbigu
| [[Kirnberger's atom]]
|-
| 7
| [[1323/1280]]
| {{monzo| -8 3 -1 2 }}
| 57.20
| Lazozogu
| Septimal two-seventh tone
|-
| 7
| [[49/48]]
| {{monzo| -4 -1 0 2 }}
| 35.70
| Zozo
| Semaphoresma, slendro diesis
|-
| 7
| [[245/243]]
| {{monzo| 0 -5 1 2 }}
| 14.19
| Zozoyo
| Sensamagic comma
|-
| 7
| [[19683/19600]]
| {{monzo| -4 9 -2 -2 }}
| 7.32
| Labirugu
| Cataharry comma
|-
| 7
| [[6144/6125]]
| {{monzo| 11 1 -3 -2 }}
| 5.36
| Sarurutrigu
| Porwell comma
|-
| 11
| [[56/55]]
| {{monzo| 3 0 -1 1 -1 }}
| 31.19
| Luzogu
| Undecimal tritonic comma
|-
| 11
| [[245/242]]
| {{monzo| -1 0 1 2 -2 }}
| 21.33
| Luluzozoyo
| Frostma
|-
| 11
| [[121/120]]
| {{monzo| -3 -1 -1 0 2 }}
| 14.37
| Lologu
| Biyatisma
|-
| 11
| [[176/175]]
| {{monzo| 4 0 -2 -1 1 }}
| 9.86
| Lorugugu
| Valinorsma
|-
| 11
| [[896/891]]
| {{monzo| 7 -4 0 1 -1 }}
| 9.69
| Saluzo
| Pentacircle comma
|-
| 11
| [[243/242]]
| {{monzo| -1 5 0 0 -2 }}
| 7.14
| Lulu
| Rastma
|-
| 11
| <abbr title="214990848/214358881">(18 digits)</abbr>
| {{monzo| 15 8 0 0 -8 }}
| 5.10
| Quadbilu
| [[Octatonic comma]]
|-
| 11
| [[385/384]]
| {{monzo| -7 -1 1 1 1 }}
| 4.50
| Lozoyo
| Keenanisma
|-
| 11
| <abbr title="117440512/117406179">(18 digits)</abbr>
| {{monzo| 24 -6 0 1 -5 }}
| 0.51
| Saquinlu-azo
| [[Quartisma]]
|-
| 11
| [[9801/9800]]
| {{monzo| -3 4 -2 -2 2 }}
| 0.18
| Bilorugu
| Kalisma, Gauss' comma
|-
| 11
| <abbr title="1771561/1771470">(14 digits)</abbr>
| {{monzo| -1 -11 -1 0 6 }}
| 0.089
| Satribilo-agu
| [[Parimo]]
|-
| 13
| [[66/65]]
| {{monzo| 1 1 -1 0 1 -1 }}
| 26.43
| Thulogu
| Winmeanma
|-
| 13
| [[91/90]]
| {{monzo| -1 -2 -1 1 0 1 }}
| 19.13
| Thozogu
| Superleap comma, biome comma
|-
| 13
| [[512/507]]
| {{monzo| 9 -1 0 0 0 -2 }}
| 16.99
| Thuthu
| Tridecimal neutral thirds comma
|-
| 13
| [[105/104]]
| {{monzo| -3 1 1 1 0 -1 }}
| 16.57
| Thuzoyo
| Animist comma
|-
| 13
| [[144/143]]
| {{monzo| 4 2 0 0 -1 -1 }}
| 12.06
| Thulu
| Grossma
|-
| 13
| [[351/350]]
| {{Monzo| -1 3 -2 -1 0 1 }}
| 4.94
| Thorugugu
| Ratwolfsma
|-
| 13
| [[352/351]]
| {{monzo| 5 -3 0 0 1 -1 }}
| 4.93
| Thulo
| Minor minthma
|-
| 13
| [[676/675]]
| {{monzo| 2 -3 -2 0 0 2 }}
| 2.56
| Bithogu
| Island comma, parizeksma
|-
| 13
| [[4096/4095]]
| {{monzo| 12 -2 -1 -1 0 -1 }}
| 0.42
| Sathurugu
| Schismina
|-
| 17
| [[51/50]]
| {{monzo| -1 1 -2 0 0 0 1 }}
| 34.28
| Sogugu
| Large septendecimal sixth tone
|-
| 17
| [[136/135]]
| {{monzo| 3 -3 -1 0 0 0 1 }}
| 12.78
| Sogu
| Diatisma, fiventeen comma
|-
| 17
| [[170/169]]
| {{monzo| 1 0 1 0 0 -2 1 }}
| 10.21
| Sothuthuyo
| Major naiadma
|-
| 17
| [[221/220]]
| {{monzo| -2 0 -1 0 -1 1 1 }}
| 7.85
| Sotholugu
| Minor naiadma
|-
| 17
| [[256/255]]
| {{monzo| 8 -1 -1 0 0 0 -1 }}
| 6.78
| Sugu
| Charisma, septendecimal kleisma
|-
| 17
| [[289/288]]
| {{monzo| -5 -2 0 0 0 0 2 }}
| 6.00
| Soso
| Semitonisma
|-
| 17
| [[1225/1224]]
| {{monzo| -3 -2 2 2 0 0 -1 }}
| 1.41
| Subizoyo
| Noellisma
|-
| 19
| [[76/75]]
| {{monzo| 2 -1 -2 0 0 0 0 1 }}
| 22.93
| Nogugu
| Large undevicesimal ninth tone
|-
| 19
| [[77/76]]
| {{monzo| -2 0 0 1 1 0 0 -1 }}
| 22.63
| Nulozo
| Small undevicesimal ninth tone
|-
| 19
| [[96/95]]
| {{monzo| 5 1 -1 0 0 0 0 -1 }}
| 18.13
| Nugu
| 19th-partial chroma
|-
| 19
| [[133/132]]
| {{monzo| -2 -1 0 1 -1 0 0 1 }}
| 13.07
| Noluzo
| Minithirdma
|-
| 19
| [[153/152]]
| {{monzo| -3 2 0 0 0 0 1 -1}}
| 11.35
| Nuso
| Ganassisma
|-
| 19
| [[171/170]]
| {{monzo| -1 2 -1 0 0 0 -1 1 }}
| 10.15
| Nosugu
| Malcolmisma
|-
| 19
| [[209/208]]
| {{monzo| -4 0 0 0 1 -1 0 1 }}
| 8.30
| Nothulo
| Yama comma
|-
| 19
| [[324/323]]
| {{monzo| 2 4 0 0 0 0 -1 -1 }}
| 5.35
| Nusu
| Photisma
|-
| 19
| [[361/360]]
| {{monzo| -3 -2 -1 0 0 0 0 2 }}
| 4.80
| Nonogu
| Go comma
|-
| 19
| [[5776/5775]]
| {{monzo| 4 -1 -2 -1 -1 0 0 2 }}
| 0.30
| Nonolurugugu
| Neovish comma
|}


||||~ ====Tridecatonic:==== ||
=== Rank-2 temperaments ===
|| {{**1 2 2 2 2 2 2 1 2 2 2 2 2**}} || de Vries 13-tone - [[MOSScales|MOS]] of type [[11L 2s]] ||
* [[List of 24et rank two temperaments by badness]]
|| {{**2 2 2 2 2 1 2 2 2 2 2 2 1**}} || Agmon Diatonic DS5, Ivan Wyschnegradsky's diatonicized chromatic scale - [[MOSScales|MOS]] of type [[11L 2s]] ||
* [[List of edo-distinct 24et rank two temperaments]]


{| class="wikitable center-1 center-2"
|-
! Periods<br>per 8ve
! Generator
! Name
|-
| 1
| 1\24
| [[Hemiripple]] (24)
|-
| 1
| 5\24
| [[Godzilla]] (24) / [[baragon]] (24) / [[semaphoresmic clan #Varan|varan]] (24)
|-
| 1
| 7\24
| [[Mohajira]] (24) / [[neutrominant]] (24d) / [[migration]] (24d)
|-
| 1
| 11\24
| [[Cohemiripple]] (24), [[freivald]] (24)
|-
| 2
| 1\24
| [[Shrutar]] (24)
|-
| 2
| 5\24
| [[Sruti]] (24), [[anguirus]] (24), [[decimal]] (24c)
|-
| 3
| 1\24
| [[Hemiaug]] (24)
|-
| 3
| 3\24
| [[Triforce]] (24)
|-
| 4
| 1\24
| [[Hemidim]] (24)
|-
| 6
| 1\24
| [[Hemisemiaug]] (24)
|-
| 8
| 1\24
| [[Semidim]] (24)
|-
| 12
| 1\24
| [[Catler]]
|}


=Instruments[[#instruments]]=
Important MOSes include:
The ever-arising question in microtonal music, how to play it on instruments designed for 12edo, has a relatively simple answer in the case of 24edo: use two standard instruments tuned a quartertone apart. This [[Microtonal Keyboards#twelvenoteoctavescales|"12 note octave scales"]] approach is used in a wide part of the existing literature - see below.
* Semaphore 4L1s 55455 (generator: 5\24)
[[image:http://www.swordguitars.com/Sword_quartertone_stratsm.jpg width="406" height="195"]]24-tone "1/4-tone" Guitar by Ron Sword / Sword guitars
* Semaphore 5L4s 414141414 (generator: 5\24)
* Mohajira 3L4s 3434343 (generator: 7\24)
* Mohajira 7L3s 3313313313 (generator: 7\24)


=Compositions=  
== Scales and modes ==
==Music==
''See: [[24edo scales]] and [[List of MOS scales in 24edo]].''
&lt;span class="ymp-btn-page-play ymp-media-eb56a917c62000140296c2e1a6d89911"&gt;[[http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Mohajeri/Microhex3.mp3|Microhex3]]&lt;/span&gt; &lt;span class="ymp-btn-page-play ymp-media-750620955011dabb8bc98c7c8830cbb8"&gt;[[http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Mohajeri/Microhex4.mp3|Microhex4]]&lt;/span&gt; and &lt;span class="ymp-btn-page-play ymp-media-4aeb7c299c23983ba8081a591562e704"&gt;[[http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Mohajeri/Microhex5.mp3|Microhex5]]&lt;/span&gt; by [[http://www.96edo.com/About_me.html|Shaahin Mohajeri]]
&lt;span class="ymp-btn-page-play ymp-media-30832be5610668b4b42451c8ce82dc80"&gt;[[http://micro.soonlabel.com/24et/quarterpicnic.mp3|Quarterpicnic]]&lt;/span&gt; by [[Chris Vaisvil]]
[[http://micro.soonlabel.com/gene_ward_smith/Others/BeDell/Quarter%20Tone%20Prelude%20for%20two%20Harps.mp3|Quarter Tone Prelude For Two Harps]] by [[http://soundcloud.com/cerbeus-1/quarter-tone-prelude-for-two|Nathan BeDell]]
&lt;span class="ymp-btn-page-play ymp-media-2738730931ba168a7364a84b5417488d"&gt;[[http://micro.soonlabel.com/24et/daily20111021-fretless-1.mp3|Fretless Chrome 1]]&lt;/span&gt; and &lt;span class="ymp-btn-page-play ymp-media-d35cb71128e927701930058ebd16b778"&gt;[[http://micro.soonlabel.com/24et/daily20111021-fretless-2.mp3|Fretless Chrome 2]]&lt;/span&gt; by [[@http://chrisvaisvil.com/?p=1477|Chris Vaisvil]]
[[http://micro.soonlabel.com/gene_ward_smith/Others/Freivald/Lament.mp3|Lament]] by [[http://soundcloud.com/jdfreivald/lament|Jake Freivald]]. In the [[freivaldneutral24]] scale.
[[https://soundcloud.com/jdfreivald/mo-happy-happy|Mo - Happy - Happy]] [[http://micro.soonlabel.com/gene_ward_smith/Others/Freivald/mo-happy-happy.mp3|play]] by Jake Freivald in Neutraltet[7] (2.3.11 mohajira), 24et tuning
[[http://www.youtube.com/watch?v=q1Lp8AtKK9o|Autumn Winds]], [[http://www.youtube.com/watch?v=Igxe3DwbFJ4&amp;feature=c4-overview&amp;list=UUvq5bg-LvOS6adpB5efPTyQ|Easter Time at Nine]], [[http://www.youtube.com/watch?v=z_3uhA9Cq08&amp;list=UUvq5bg-LvOS6adpB5efPTyQ|Waters of Persia]] by William Lynch in mohajira, 24et tuning.


==About==  
== Tetrachords ==
"Prométhée enchaîné" by [[http://en.wikipedia.org/wiki/Fromental_Hal%C3%A9vy|Fromental Halévy]] (considered the first mainstream western orchestral composition to use quarter tones.)
''See [[24edo tetrachords]]''.
"3 Hommages" by [[http://en.wikipedia.org/wiki/Georg_Friedrich_Haas|Georg Friedrich Haas]]
[[http://en.wikipedia.org/wiki/List_of_quarter_tone_pieces|List of quartertone pieces on Wikipedia]]


=Practical Theory / Books=  
== Chord types ==
24edo features a rich variety of not only new chords, but also alterations that can be used with regular 12edo chords. For example, an approximation of the ninth, eleventh, and thirteenth harmonic can be added to a major triad to create 4:5:6:9:11:13, a sort of super-extended major chord.


[[image:http://ronsword.com/images/24_tet_Coversm.jpg width="179" height="236"]]**"Icosakaiteraphonic Scales for Guitar"** - A Book for Twenty-Four Equal Divisions of the Octave on guitar, or 'Quarter-tones'. Features a practical approach to understanding the tuning, and over 550 Scale Examples on Nine-String finger board charts, which allows for both symmetrical tuning visualization and standard guitar tuning- helpful for bassists and large range guitarists as well. Includes MOS, DE, and *all* the Scales / Modes from the list above.
As for entirely new chords, there are three new fundamental options, giving five basic triads over 12edo's two:


=External links=
{| class="wikitable center-all"
[[http://tonalsoft.com/enc/q/quarter-tone.aspx|quarter-tone / 24-edo - Encyclopedia of Microtonal Music Theory]] [[http://www.webcitation.org/5xeFMH6cd|Permalink]]
|+ style="white-space: nowrap; font-size: 105%;" | Fundamental triads of 24edo
[[http://www.96edo.com/24_EDO.html|About 24-EDO]] by Shaahin Mohajeri [[http://www.webcitation.org/5xeFBNdQW|Permalink]]
|-
[[https://docs.google.com/file/d/0Bzrl-iLY6DeEVkl1VjBGdEJlOTg/edit|Notation and Chord Names for 24-EDO]] by William Lynch
! JI Chord
[[http://sonic-arts.org/darreg/contents.htm|The place of QUARTERTONES in Today's Xenharmonics]] by [[Ivor Darreg]] [[http://sonic-arts.org/darreg/dar8.htm|Permalink]]</pre></div>
! Edosteps
<h4>Original HTML content:</h4>
! Notes of C Chord
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html">&lt;html&gt;&lt;head&gt;&lt;title&gt;24edo&lt;/title&gt;&lt;/head&gt;&lt;body&gt;&lt;span style="display: block; text-align: right;"&gt;Other languages: &lt;a class="wiki_link" href="http://xenharmonie.wikispaces.com/24edo"&gt;Deutsch&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;
! Written name
&lt;br /&gt;
! Spoken name
&lt;br /&gt;
|-
&lt;!-- ws:start:WikiTextMediaRule:0:&amp;lt;img src=&amp;quot;http://www.wikispaces.com/site/embedthumbnail/custom/11052600?h=0&amp;amp;w=0&amp;quot; class=&amp;quot;WikiMedia WikiMediaCustom&amp;quot; id=&amp;quot;wikitext@@media@@type=&amp;amp;quot;custom&amp;amp;quot; key=&amp;amp;quot;11052600&amp;amp;quot;&amp;quot; title=&amp;quot;Custom Media&amp;quot;/&amp;gt; --&gt;&lt;script type="text/javascript" src="http://webplayer.yahooapis.com/player.js"&gt;
| 6:7:9, 26:30:39
&lt;/script&gt;&lt;!-- ws:end:WikiTextMediaRule:0 --&gt;&lt;!-- ws:start:WikiTextTocRule:53:&amp;lt;img id=&amp;quot;wikitext@@toc@@flat&amp;quot; class=&amp;quot;WikiMedia WikiMediaTocFlat&amp;quot; title=&amp;quot;Table of Contents&amp;quot; src=&amp;quot;/site/embedthumbnail/toc/flat?w=100&amp;amp;h=16&amp;quot;/&amp;gt; --&gt;&lt;!-- ws:end:WikiTextTocRule:53 --&gt;&lt;!-- ws:start:WikiTextTocRule:54: --&gt;&lt;a href="#Basics"&gt;Basics&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:54 --&gt;&lt;!-- ws:start:WikiTextTocRule:55: --&gt; | &lt;a href="#x24edo as a temperament"&gt;24edo as a temperament&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:55 --&gt;&lt;!-- ws:start:WikiTextTocRule:56: --&gt;&lt;!-- ws:end:WikiTextTocRule:56 --&gt;&lt;!-- ws:start:WikiTextTocRule:57: --&gt; | &lt;a href="#Intervals"&gt;Intervals&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:57 --&gt;&lt;!-- ws:start:WikiTextTocRule:58: --&gt; | &lt;a href="#Notation"&gt;Notation&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:58 --&gt;&lt;!-- ws:start:WikiTextTocRule:59: --&gt;&lt;!-- ws:end:WikiTextTocRule:59 --&gt;&lt;!-- ws:start:WikiTextTocRule:60: --&gt; | &lt;a href="#Interval Alterations"&gt;Interval Alterations&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:60 --&gt;&lt;!-- ws:start:WikiTextTocRule:61: --&gt; | &lt;a href="#Chord Structures"&gt;Chord Structures&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:61 --&gt;&lt;!-- ws:start:WikiTextTocRule:62: --&gt; | &lt;a href="#Naming Chords in 24edo"&gt;Naming Chords in 24edo&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:62 --&gt;&lt;!-- ws:start:WikiTextTocRule:63: --&gt; | &lt;a href="#Rank two temperaments"&gt;Rank two temperaments&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:63 --&gt;&lt;!-- ws:start:WikiTextTocRule:64: --&gt; | &lt;a href="#Scales / Modes"&gt;Scales / Modes&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:64 --&gt;&lt;!-- ws:start:WikiTextTocRule:65: --&gt;&lt;!-- ws:end:WikiTextTocRule:65 --&gt;&lt;!-- ws:start:WikiTextTocRule:66: --&gt;&lt;!-- ws:end:WikiTextTocRule:66 --&gt;&lt;!-- ws:start:WikiTextTocRule:67: --&gt;&lt;!-- ws:end:WikiTextTocRule:67 --&gt;&lt;!-- ws:start:WikiTextTocRule:68: --&gt;&lt;!-- ws:end:WikiTextTocRule:68 --&gt;&lt;!-- ws:start:WikiTextTocRule:69: --&gt;&lt;!-- ws:end:WikiTextTocRule:69 --&gt;&lt;!-- ws:start:WikiTextTocRule:70: --&gt;&lt;!-- ws:end:WikiTextTocRule:70 --&gt;&lt;!-- ws:start:WikiTextTocRule:71: --&gt;&lt;!-- ws:end:WikiTextTocRule:71 --&gt;&lt;!-- ws:start:WikiTextTocRule:72: --&gt;&lt;!-- ws:end:WikiTextTocRule:72 --&gt;&lt;!-- ws:start:WikiTextTocRule:73: --&gt; | &lt;a href="#Instruments"&gt;Instruments&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:73 --&gt;&lt;!-- ws:start:WikiTextTocRule:74: --&gt; | &lt;a href="#Compositions"&gt;Compositions&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:74 --&gt;&lt;!-- ws:start:WikiTextTocRule:75: --&gt;&lt;!-- ws:end:WikiTextTocRule:75 --&gt;&lt;!-- ws:start:WikiTextTocRule:76: --&gt;&lt;!-- ws:end:WikiTextTocRule:76 --&gt;&lt;!-- ws:start:WikiTextTocRule:77: --&gt; | &lt;a href="#Practical Theory / Books"&gt;Practical Theory / Books&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:77 --&gt;&lt;!-- ws:start:WikiTextTocRule:78: --&gt; | &lt;a href="#External links"&gt;External links&lt;/a&gt;&lt;!-- ws:end:WikiTextTocRule:78 --&gt;&lt;!-- ws:start:WikiTextTocRule:79: --&gt;
| {{dash|0, 5, 14|hair}}
&lt;!-- ws:end:WikiTextTocRule:79 --&gt;&lt;br /&gt;
| {{dash|C, E{{sesquiflat2}}, G|hair}}
&lt;br /&gt;
| Cvm<br>Cm({{demiflat2}}3), Cmin({{demiflat2}}3)
&lt;hr /&gt;
| C inframinor<br>C minor semiflat-three
&lt;!-- ws:start:WikiTextHeadingRule:3:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc0"&gt;&lt;a name="Basics"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:3 --&gt;Basics&lt;/h1&gt;
|-
The 24edo system divides the octave into 24 equal parts of exactly 50 cents each. It is also known as &lt;strong&gt;quarter-tone tuning&lt;/strong&gt;, since it evenly divides the 12-tone equal tempered semitone in two. Quarter-tones are the most commonly used microtonal tuning due to its retention of the familiar 12 tones and since it is the smallest microtonal equal temperament that contains all the 12 notes, and also because of its use in theory and occasionally in practice in Arabic music. It is easy to jump into this tuning and make microtonal music right away using common 12 equal software and even instruments - &lt;a class="wiki_link" href="/DIY%20Quartertone%20Composition%20with%2012%20equal%20tools"&gt;see this page&lt;/a&gt;.&lt;br /&gt;
| 10:12:15
&lt;br /&gt;
| {{dash|0, 6, 14|hair}}
&lt;!-- ws:start:WikiTextHeadingRule:5:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc1"&gt;&lt;a name="x24edo as a temperament"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:5 --&gt;24edo as a temperament&lt;/h1&gt;
| {{dash|C, E♭, G|hair}}
The &lt;a class="wiki_link" href="/Harmonic%20Limit"&gt;5-limit&lt;/a&gt; approximations in 24-tone equal temperament are the same as those in 12-tone equal temperament, therefore 24-tone equal temperament offers nothing new as far as approximating the 5-limit is concerned. The 7th harmonic-based intervals (7:4, 7:5 and 7:6) are just as bad in 24-tET as in 12-tET, although they are approximated by different intervals. To achieve a satisfactory level of approximation while maintaining the 12 notes of 12-tET requires high-degree tunings like 72-tET, 84-tET or 156-tET.&lt;br /&gt;
| Cm, Cmin
&lt;br /&gt;
| C minor
The tunings supplied by 72 cannot be used for all low-limit just intervals, but they can be used on the 17-limit &lt;a class="wiki_link" href="/k%2AN%20subgroups"&gt;3*24 subgroup&lt;/a&gt; 2.3.125.35.11.325.17 &lt;a class="wiki_link" href="/just%20intonation%20subgroup"&gt;just intonation subgroup&lt;/a&gt;, making some of the excellent approximations of 72 available in 24edo. Chords based on this subgroup afford considerable scope for harmony, including in particular intervals and chords using only 2, 3, 11 and 17. Another approach would be to treat 24-EDO as a 2.3.11.17.19 subgroup temperament, on which it is quite accurate.&lt;br /&gt;
|-
&lt;br /&gt;
| 18:22:27, 22:27:33
| 0-7-14
| {{dash|C, E{{demiflat2}}, G|hair}}
| C~, Cneu
| C neutral
|-
| 4:5:6
| {{dash|0, 8, 14|hair}}
| {{dash|C, E, G|hair}}
| C, Cmaj
| C, C major
|-
| 14:18:21, 10:13:15
| {{dash|0, 9, 14|hair}}
| {{dash|C, E{{demisharp2}}, G|hair}}
| C^<br>C({{demisharp2}}3), Cmaj({{demisharp2}}3)
| C ultramajor<br>C major semisharp-three
|}


These chords tend to lack the forcefulness to sound like resolved, tonal sonorities, but can be resolved of that issue by using tetrads in place of triads. For example, the neutral triad can have the neutral 7th added to it to make a full neutral tetrad: {{dash|0, 7, 14, 21|hair}}. However, another option is to replace the neutral third with an 11/8 to produce a sort of 11 limit neutral tetrad: {{dash|0, 14, 21, 35|hair}} [[William Lynch]] considers this chord to be the most consonant tetrad in 24edo involving a neutral tonality.


&lt;table class="wiki_table"&gt;
24edo also is very good at 15 limit and does 13 quite well allowing barbados major (10:13:15) and barbodos minor (26:30:39) triads to be used as an entirely new harmonic system.
    &lt;tr&gt;
        &lt;th&gt;[[#|Degree]]&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Cents&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Approximate Ratios*&lt;br /&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;0&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;0&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;1/1&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;1&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;50&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;33/32, 34/33&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;2&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;100&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;17/16, 18/17&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;3&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;150&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;12/11&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;4&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;200&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;9/8&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;5&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;250&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;22/19&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;6&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;300&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;19/16&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;7&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;350&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;11/9&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;8&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;400&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;24/19&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;9&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;450&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;22/17&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;10&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;500&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;4/3&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;11&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;550&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;11/8&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;12&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;600&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;17/12&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;13&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;650&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;16/11&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;14&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;700&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;3/2&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;15&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;750&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;17/11&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;16&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;800&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;19/12&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;17&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;850&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;18/11&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;18&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;900&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;32/19&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;19&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;950&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;19/11&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;20&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1000&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;16/9&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;21&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1050&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;11/6&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;22&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1100&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;17/9, 32/17&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;23&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1150&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;33/17, 64/33&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1200&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;2/1&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


*based on treating 24-EDO as a 2.3.11.17.19 subgroup; other approaches are possible.&lt;br /&gt;
More good chords in 24edo:
&lt;br /&gt;
The 11th harmonic, and intervals derived from it, (11:10, 11:9, 11:8, 11:6, 12:11, 15:11, 16:11, 18:11, 20:11) are very well approximated in 24-tone equal temperament. The 24-tone interval of 550 cents is 1.3 cents flatter than 11:8 and is almost indistinguishable from it. In addition, the interval approximating 11:9 is 7 steps which is exactly half the perfect fifth. Some good chords in 24-tET are (the numbers are degree numbers, e.g. 4 is a major second, 8 is a major third):&lt;br /&gt;
&lt;br /&gt;
0-4-8-11-14 (&amp;quot;major&amp;quot; chord with a 9:8 and a 11:8 above the root)&lt;br /&gt;
Its inversion, 0-3-6-10-14 (&amp;quot;minor&amp;quot;)&lt;br /&gt;
0-7-14 (&amp;quot;neutral&amp;quot;)&lt;br /&gt;
0-5-10 (another kind of &amp;quot;neutral&amp;quot;, splitting the fourth in two. The 0-5-10 can be extended into a pentatonic scale, 0-5-10-14-19-24 (&lt;a class="wiki_link" href="/godzilla"&gt;godzilla&lt;/a&gt;), that is [[#|close]] to equi-pentatonic and also close to several Indonesian šlêndros. In a similar way 0-7-14 extends to 0-4-7-11-14-18-21-24 (&lt;a class="wiki_link" href="/mohajira"&gt;mohajira&lt;/a&gt;), a heptatonic scale close to several Arabic scales.)&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:7:&amp;lt;h3&amp;gt; --&gt;&lt;h3 id="toc2"&gt;&lt;a name="x24edo as a temperament--Commas"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:7 --&gt;Commas&lt;/h3&gt;
24 EDO tempers out the following commas. (Note: This assumes val &amp;lt; 24 38 56 67 83 89 |.)&lt;br /&gt;


* {{dash|0, 4, 8, 11, 14|hair}} ("major" chord with a 9:8 and a 11:8 above the root)
* Its inversion, {{dash|0, 3, 6, 10, 14|hair}} ("minor")
* 0-5-10 (another kind of "neutral", splitting the fourth in two. The {{dash|0, 5, 10|hair}} can be extended into a ([[Godzilla]]) pentatonic scale ({{dash|0, 5, 10, 14, 19, 24|hair}}), that is close to equi-pentatonic and also close to several Indonesian slendro scales. In a similar way {{dash|0, 7, 14|hair}} extends to {{dash|0, 4, 7, 11, 14, 18, 21, 24|hair}} ([[mohajira]]), a heptatonic scale close to several Arabic scales.)


&lt;table class="wiki_table"&gt;
William Lynch considers these as some possible good tetrads:
    &lt;tr&gt;
        &lt;th&gt;Comma&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Monzo&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Value (Cents)&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Name 1&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Name 2&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Name 3&lt;br /&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;531441/524288&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| -19 12 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;23.46&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Pythagorean Comma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;648/625&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| 3 4 -4 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;62.57&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Major Diesis&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Diminished Comma&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;128/125&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| 7 0 -3 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;41.06&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Diesis&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Augmented Comma&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;81/80&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| -4 4 -1 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;21.51&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Syntonic Comma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Didymos Comma&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Meantone Comma&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;2048/2025&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| 11 -4 -2 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;19.55&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Diaschisma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;5201701/5149091&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| 26 -12 -3 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;17.60&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Misty Comma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;32805/32768&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| -15 8 1 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;1.95&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Schisma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;1465155/1465142&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| 161 -84 -12 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;0.02&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Atom&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;49/48&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| -4 -1 0 2 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;35.70&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Slendro Diesis&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;245/243&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| 0 -5 1 2 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;14.19&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Sensamagic&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;19683/19600&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| -4 9 -2 -2 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;7.32&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Cataharry&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;6144/6125&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| 11 1 -3 -2 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;5.36&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Porwell&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;121/120&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| -3 -1 -1 0 2 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;14.37&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Biyatisma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;176/175&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| 4 0 -2 -1 1 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;9.86&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Valinorsma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;896/891&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| 7 -4 0 1 -1 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;9.69&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Pentacircle&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;243/242&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| -1 5 0 0 -2 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;7.14&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Rastma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;385/384&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| -7 -1 1 1 1 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;4.50&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Keenanisma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;9801/9800&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| -3 4 -2 -2 2 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;0.18&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Kalisma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Gauss' Comma&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;91/90&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| -1 -2 -1 1 0 1 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;19.13&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Superleap&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;676/675&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;| 2 -3 -2 0 0 2 &amp;gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: right;"&gt;2.56&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;Parizeksma&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;
 
&lt;!-- ws:start:WikiTextHeadingRule:9:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc3"&gt;&lt;a name="Intervals"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:9 --&gt;Intervals&lt;/h1&gt;
The twelve new intervals (quartertones) in 24edo that are not found in 12edo are:&lt;br /&gt;
 


&lt;table class="wiki_table"&gt;
[[File:Three_chords.PNG|alt=Three chords.PNG|Three chords.PNG]]
    &lt;tr&gt;
        &lt;th colspan="2"&gt;The twelve new intervals in 24edo&lt;br /&gt;
&lt;/th&gt;
        &lt;th colspan="3"&gt;some nearby JI intervals&lt;br /&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;th&gt;cents&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;common names&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;frequency ratio&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;cents&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;common name&lt;br /&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;50&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;subminor second, quartertone&lt;br /&gt;
arto second&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/36_35"&gt;36/35&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/35_34"&gt;35/34&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/34_33"&gt;34/33&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/33_32"&gt;33/32&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;48.770&lt;br /&gt;
50.184&lt;br /&gt;
51.682&lt;br /&gt;
53.273&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;large septimal quarter-tone (Archytas)&lt;br /&gt;
large 17-limit quartertone&lt;br /&gt;
small 17-limit quartertone&lt;br /&gt;
33rd harmonic&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;150&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;neutral second&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/12_11"&gt;12/11&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;150.637&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;large undecimal neutral second&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;250&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;supermajor second, tendo second,&lt;br /&gt;
subminor third, &lt;span style="line-height: 1.5;"&gt;arto third&lt;/span&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/144_125"&gt;144/125&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/15_13"&gt;15/13&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/52_45"&gt;52/45&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;244.969&lt;br /&gt;
247.741&lt;br /&gt;
250.304&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;diminished third (6/5 x 24/25)&lt;br /&gt;
..&lt;br /&gt;
..&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;350&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;neutral third&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/11_9"&gt;11/9&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/27_22"&gt;27/22&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/16_13"&gt;16/13&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;347.408&lt;br /&gt;
354.547&lt;br /&gt;
359.472&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;undecimal neutral third&lt;br /&gt;
..&lt;br /&gt;
tridecimal neutral third&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;450&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;minor fourth, supermajor third, Under-fourth, Tendo Third&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/22_17"&gt;22/17&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/35_27"&gt;35/27&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/13_10"&gt;13/10&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;446.363&lt;br /&gt;
449.275&lt;br /&gt;
454.214&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;17-limit supermajor third&lt;br /&gt;
..&lt;br /&gt;
tridecimal subfourth&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;550&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;major fourth, over-fourth&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/11_8"&gt;11/8&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;551.318&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;undecimal superfourth, harmonic 11th&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;650&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;minor fifth, Under-Fifth&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/16_11"&gt;16/11&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;648.682&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;undecimal subfifth, 11th subharmonic&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;750&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;major fifth, subminor sixth, arto sixth&lt;br /&gt;
Over-fifth,&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/20_13"&gt;20/13&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/54_35"&gt;54/35&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/17_11"&gt;17/11&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;745.786&lt;br /&gt;
750.725&lt;br /&gt;
753.637&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;tridecimal superfifth&lt;br /&gt;
..&lt;br /&gt;
17-limit subminor sixth&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;850&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;neutral sixth&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/13_8"&gt;13/8&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/44_27"&gt;44/27&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/18_11"&gt;18/11&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;840.528&lt;br /&gt;
845.453&lt;br /&gt;
852.592&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;overtone sixth, 13th harmonic&lt;br /&gt;
..&lt;br /&gt;
undecimal neutral sixth&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;950&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;supermajor sixth, tendo sixth, subminor seventh, arto seventh&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/45_26"&gt;45/26&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/26_15"&gt;26/15&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/125_72"&gt;125/72&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;949.696&lt;br /&gt;
952.259&lt;br /&gt;
955.031&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;..&lt;br /&gt;
..&lt;br /&gt;
..&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;1050&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;neutral seventh&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/11_6"&gt;11/6&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;1049.363&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;undecimal neutral seventh&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td style="text-align: center;"&gt;1150&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;minor octave, supermajor seventh, tendo seventh&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;&lt;a class="wiki_link" href="/31_16"&gt;31/16&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/33_17"&gt;33/17&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/35_18"&gt;35/18&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;1145.036&lt;br /&gt;
1148.318&lt;br /&gt;
1151.230&lt;br /&gt;
&lt;/td&gt;
        &lt;td style="text-align: center;"&gt;31st harmonic&lt;br /&gt;
..&lt;br /&gt;
..&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


&lt;br /&gt;
{| class="wikitable center-all"
&lt;!-- ws:start:WikiTextHeadingRule:11:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc4"&gt;&lt;a name="Notation"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:11 --&gt;Notation&lt;/h1&gt;
|+ style="white-space: nowrap; font-size: 105%;" | Fundamental tetrads of 24edo
&lt;br /&gt;
|-
There have been disputes about disadvantages of various systems for notating quarter tones. Here are some of the few systems along with pros and cons.&lt;br /&gt;
! Degrees of 24edo
&lt;strong&gt;Mainstream Quartertone Notation&lt;/strong&gt;&lt;br /&gt;
! Chord spelling
&lt;!-- ws:start:WikiTextRemoteImageRule:1532:&amp;lt;img src=&amp;quot;http://www.wfg.woodwind.org/n/s14_blue.gif&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://www.wfg.woodwind.org/n/s14_blue.gif" alt="external image s14_blue.gif" title="external image s14_blue.gif" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1532 --&gt; or ^ = quarter-tone sharp or &amp;quot;Jump&amp;quot;&lt;br /&gt;
! Notes of C chord
&lt;!-- ws:start:WikiTextRemoteImageRule:1533:&amp;lt;img src=&amp;quot;http://www.wfg.woodwind.org/n/s34_blue.gif&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://www.wfg.woodwind.org/n/s34_blue.gif" alt="external image s34_blue.gif" title="external image s34_blue.gif" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1533 --&gt; or #^ = three-quarter-tone sharp or &amp;quot;Jump-Sharp&amp;quot;&lt;br /&gt;
! Written name
&lt;!-- ws:start:WikiTextRemoteImageRule:1534:&amp;lt;img src=&amp;quot;http://www.wfg.woodwind.org/n/f14_blue.gif&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://www.wfg.woodwind.org/n/f14_blue.gif" alt="external image f14_blue.gif" title="external image f14_blue.gif" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1534 --&gt; or v = quarter-tone flat or &amp;quot;Drop&amp;quot;&lt;br /&gt;
! Spoken name
&lt;!-- ws:start:WikiTextRemoteImageRule:1535:&amp;lt;img src=&amp;quot;http://www.wfg.woodwind.org/n/f34_blue.gif&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://www.wfg.woodwind.org/n/f34_blue.gif" alt="external image f34_blue.gif" title="external image f34_blue.gif" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1535 --&gt; or bv = three-quarter-tone flat or &amp;quot;Drop-Flat&amp;quot;&lt;br /&gt;
! Audio example
&lt;br /&gt;
|-
Pros: Familiar, fairly easy to learn&lt;br /&gt;
| {{dash|0, 5, 14, 19|hair}}
Cons: Clutters a score easily, can get confusing when sight read at faster paces&lt;br /&gt;
| {{dash|1, vb3, 5, vb7|hair}}
&lt;br /&gt;
| {{dash|C, E{{sesquiflat2}}, G, B{{sesquiflat2}}|hair}}
&lt;strong&gt;Alternate Quartertone Accidentals&lt;/strong&gt;&lt;br /&gt;
| smin7<br>min7({{demiflat2}}3, {{demiflat2}}7)
&lt;!-- ws:start:WikiTextRemoteImageRule:1536:&amp;lt;img src=&amp;quot;http://faculty.mansfield.edu/jmurphy/oldsite/quartertonesharp.gif&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://faculty.mansfield.edu/jmurphy/oldsite/quartertonesharp.gif" alt="external image quartertonesharp.gif" title="external image quartertonesharp.gif" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1536 --&gt; = quarter-tone sharp or Jump&lt;br /&gt;
| Inframinor seven<br>Minor seven semiflat-three semiflat-seven
††† (the horizontal line should connect all three vertical lines) = three quarter-tones sharp or Jump-Sharp&lt;br /&gt;
|-
&lt;!-- ws:start:WikiTextRemoteImageRule:1537:&amp;lt;img src=&amp;quot;http://www.dolmetsch.com/onequarterflat.gif&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://www.dolmetsch.com/onequarterflat.gif" alt="external image onequarterflat.gif" title="external image onequarterflat.gif" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1537 --&gt; = quarter-tone flat or Drop&lt;br /&gt;
| {{dash|0, 6, 14, 20|hair}}
&lt;!-- ws:start:WikiTextRemoteImageRule:1538:&amp;lt;img src=&amp;quot;http://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Arabic_music_notation_half_flat.svg/9px-Arabic_music_notation_half_flat.svg.png&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Arabic_music_notation_half_flat.svg/9px-Arabic_music_notation_half_flat.svg.png" alt="external image 9px-Arabic_music_notation_half_flat.svg.png" title="external image 9px-Arabic_music_notation_half_flat.svg.png" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1538 --&gt; = three quarter-tones flat or drop-flat&lt;br /&gt;
| {{dash|1, b3, 5, b7|hair}}
For example, the scale 0-5-10-15-20 is written as C-D&lt;!-- ws:start:WikiTextRemoteImageRule:1539:&amp;lt;img src=&amp;quot;http://faculty.mansfield.edu/jmurphy/oldsite/quartertonesharp.gif&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://faculty.mansfield.edu/jmurphy/oldsite/quartertonesharp.gif" alt="external image quartertonesharp.gif" title="external image quartertonesharp.gif" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1539 --&gt; (or E&lt;!-- ws:start:WikiTextRemoteImageRule:1540:&amp;lt;img src=&amp;quot;http://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Arabic_music_notation_half_flat.svg/9px-Arabic_music_notation_half_flat.svg.png&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Arabic_music_notation_half_flat.svg/9px-Arabic_music_notation_half_flat.svg.png" alt="external image 9px-Arabic_music_notation_half_flat.svg.png" title="external image 9px-Arabic_music_notation_half_flat.svg.png" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1540 --&gt;) F G&lt;!-- ws:start:WikiTextRemoteImageRule:1541:&amp;lt;img src=&amp;quot;http://faculty.mansfield.edu/jmurphy/oldsite/quartertonesharp.gif&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://faculty.mansfield.edu/jmurphy/oldsite/quartertonesharp.gif" alt="external image quartertonesharp.gif" title="external image quartertonesharp.gif" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1541 --&gt; (or A&lt;!-- ws:start:WikiTextRemoteImageRule:1542:&amp;lt;img src=&amp;quot;http://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Arabic_music_notation_half_flat.svg/9px-Arabic_music_notation_half_flat.svg.png&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Arabic_music_notation_half_flat.svg/9px-Arabic_music_notation_half_flat.svg.png" alt="external image 9px-Arabic_music_notation_half_flat.svg.png" title="external image 9px-Arabic_music_notation_half_flat.svg.png" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1542 --&gt;) Bb.&lt;br /&gt;
| {{dash|C, E♭, G, B♭|hair}}
&lt;br /&gt;
| m7, min7
Pros: Very easy to distinguish accidentals from one another&lt;br /&gt;
| Minor seven
Cons: Not practical, tends to clutter a score&lt;br /&gt;
|-
&lt;br /&gt;
| {{dash|0, 7, 14, 21|hair}}
&lt;strong&gt;&lt;span style="line-height: 1.5;"&gt;And in Persian music&lt;/span&gt;&lt;/strong&gt;&lt;br /&gt;
| {{dash|1, v3, 5, v7|hair}}
&lt;!-- ws:start:WikiTextRemoteImageRule:1543:&amp;lt;img src=&amp;quot;http://upload.wikimedia.org/wikipedia/commons/thumb/3/31/Koron_sign.svg/200px-Koron_sign.svg.png&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; style=&amp;quot;height: 25px; width: 12px;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/31/Koron_sign.svg/200px-Koron_sign.svg.png" alt="external image 200px-Koron_sign.svg.png" title="external image 200px-Koron_sign.svg.png" style="height: 25px; width: 12px;" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1543 --&gt;Koron (&lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Koron_%28music%29" rel="nofollow"&gt;en&lt;/a&gt; | &lt;a class="wiki_link_ext" href="http://fa.wikipedia.org/wiki/%DA%A9%D8%B1%D9%86" rel="nofollow"&gt;fa&lt;/a&gt;) = quarter-tone flat or Jump&lt;br /&gt;
| {{dash|C, E{{demiflat2}}, G, B{{demiflat2}}|hair}}
&lt;!-- ws:start:WikiTextRemoteImageRule:1544:&amp;lt;img src=&amp;quot;http://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Sori_sign.svg/200px-Sori_sign.svg.png&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; style=&amp;quot;height: 25px; width: 15px;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Sori_sign.svg/200px-Sori_sign.svg.png" alt="external image 200px-Sori_sign.svg.png" title="external image 200px-Sori_sign.svg.png" style="height: 25px; width: 15px;" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1544 --&gt;Sori (&lt;a class="wiki_link_ext" href="http://fa.wikipedia.org/wiki/%D8%B3%D8%B1%DB%8C_%28%D9%85%D9%88%D8%B3%DB%8C%D9%82%DB%8C%29" rel="nofollow"&gt;fa&lt;/a&gt;) = quarter-tone sharp or Drop&lt;br /&gt;
| n7, neu7
&lt;br /&gt;
| Neutral seven
Pros: Easy to read&lt;br /&gt;
| [[File:Neutral Tetrad on C.mp3]]
Cons: Hard to write on a computer, doesn't fit with standard notation well&lt;br /&gt;
|-
&lt;br /&gt;
| {{dash|0, 8, 14, 22|hair}}
&lt;!-- ws:start:WikiTextHeadingRule:13:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc5"&gt;&lt;a name="Notation-Sagittal Notation"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:13 --&gt;Sagittal Notation&lt;/h2&gt;
| {{dash|1, b3, 5, b7|hair}}
&lt;br /&gt;
| {{dash|C, E, G, B|hair}}
Sagittal notation works extremely well for 24 Edo notation as well as other systems&lt;br /&gt;
| maj7
It's easy on the eyes, easy to recognize the various symbols and keeps a score looking tidy and neat.&lt;br /&gt;
| Major seven
A possibility for the best approach would be to not use traditional sharps and flats altogether and replace them&lt;br /&gt;
|-
with Sagittal signs for sharp and flat.&lt;br /&gt;
| {{dash|0, 8, 14, 22|hair}}
&lt;!-- ws:start:WikiTextLocalImageRule:1530:&amp;lt;img src=&amp;quot;/file/view/sagittal%2024.PNG/500168246/sagittal%2024.PNG&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="/file/view/sagittal%2024.PNG/500168246/sagittal%2024.PNG" alt="sagittal 24.PNG" title="sagittal 24.PNG" /&gt;&lt;!-- ws:end:WikiTextLocalImageRule:1530 --&gt;&lt;br /&gt;
| {{dash|1, b3, 5, b7|hair}}
&lt;!-- ws:start:WikiTextHeadingRule:15:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc6"&gt;&lt;a name="Interval Alterations"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:15 --&gt;Interval Alterations&lt;/h1&gt;
| {{dash|C, E{{demisharp2}}, G, B{{demisharp2}}|hair}}
&lt;br /&gt;
| smaj7<br>maj7({{demisharp2}}3, {{demisharp2}}7)
The special alterations of the intervals and chords of 12 equal can be notated like this:&lt;br /&gt;
| Ultramajor seven<br>Major seven semisharp-three semisharp-seven
&lt;br /&gt;
|-
Supermajor or &amp;quot;&lt;strong&gt;Tendo&lt;/strong&gt;&amp;quot; is a major interval raised a quarter tone&lt;br /&gt;
| {{dash|0, 8, 14, 20|hair}}
Subminor or &amp;quot;&lt;strong&gt;Arto&lt;/strong&gt;&amp;quot; is a minor interval lowered a quarter tone&lt;br /&gt;
| {{dash|1, 3, 5, b7|hair}}
Neutral are intervals that exist between the major and minor version of an interval&lt;br /&gt;
| {{dash|C, E, G, B♭|hair}}
The prefix &lt;strong&gt;under&lt;/strong&gt; indicates a perfect interval lowered by one quarter tone&lt;br /&gt;
| 7, dom7
The prefix &lt;strong&gt;over&lt;/strong&gt; indicates a perfect interval raised by a quarter tone&lt;br /&gt;
| Dominant seven
&lt;br /&gt;
|-
The Latin words &amp;quot;tendo&amp;quot; (meaning &amp;quot;expand&amp;quot;) and &amp;quot;arto&amp;quot; (meaning &amp;quot;contract&amp;quot;) can be used to replace the words &amp;quot;supermajor&amp;quot; and &amp;quot;subminor&amp;quot; in order to shorten the names of the intervals.&lt;br /&gt;
| {{dash|0, 8, 14, 19|hair}}
&lt;br /&gt;
| {{dash|1, 3, 5, vb7|hair}}
&lt;!-- ws:start:WikiTextHeadingRule:17:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc7"&gt;&lt;a name="Chord Structures"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:17 --&gt;Chord Structures&lt;/h1&gt;
| {{dash|C, E, G, B{{sesquiflat2}}|hair}}
24edo features a rich variety on not only new chords, but also alterations that can be used with regular 12 Edo chords. For example, an approximation of the ninth, eleventh, and thirteenth harmonic can be added to a major triad to create a sort of super-extended chord structure of a major chord: 4:5:6:9:11:13.&lt;br /&gt;
| h7<br>7({{demiflat2}}7)
&lt;br /&gt;
| Harmonic seven<br>Dominant 7 semiflat-seven
As for entirely new chords, 24edo features many possibilities for chords. The most obvious is the neutral triad 0-7-14 however there are other options such as&lt;br /&gt;
|-
0-9-14 (Tendo Triad) and 0-5-14 (Arto Triad), the chord names being based on what kind of third is in the chord.&lt;br /&gt;
| {{dash|0, 5, 14, 20|hair}}
These chords though tend to lack the forcefulness to sound like resolved, tonal sonorities but can be resolved of that issue by using tetrads in place of triads.&lt;br /&gt;
| {{dash|1, vb3, 5, b7|hair}}
For example, the neutral triad can have the neutral 7th added to it to make a full neutral tetrad: 0-7-14-21. However, another option is to replace the neutral third with an 11/8 to produce a sort of 11 limit neutral tetrad. 0-14-21-35 William Lynch considers this chord to be the most consonant tetrad in 24edo involving a neutral tonality. 24 edo also is very good at 15 limit and does 13 quite well allowing barbodos 10:13:15 and barbodos minor triad 26:30:39 to be used as an entirely new harmonic system. See Arto and Tendo Theory&lt;br /&gt;
| {{dash|C, E{{sesquiflat2}}, G, B♭|hair}}
&lt;br /&gt;
| min7({{demiflat2}}3)
William Lynch considers these as some possible good tetrads:&lt;br /&gt;
| Arto<br>Minor seven semiflat-three
&lt;br /&gt;
| [[File:arto tetrad on C.mp3]]
&lt;!-- ws:start:WikiTextLocalImageRule:1531:&amp;lt;img src=&amp;quot;/file/view/Three%20chords.PNG/489521008/Three%20chords.PNG&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="/file/view/Three%20chords.PNG/489521008/Three%20chords.PNG" alt="Three chords.PNG" title="Three chords.PNG" /&gt;&lt;!-- ws:end:WikiTextLocalImageRule:1531 --&gt;&lt;br /&gt;
|-
&lt;br /&gt;
| {{dash|0, 9, 14, 19|hair}}
| {{dash|1, ^3, 5, vb7|hair}}
| {{dash|C, E{{demisharp2}}, G, B{{sesquiflat2}}|hair}}
| h7({{demisharp2}}3)<br>7({{demisharp2}}3, {{demiflat2}}7)
| Tendo<br>Harmonic seven semisharp-three<br>Dominant seven semisharp-three semiflat-seven
|
|}


The tendo chord can also be spelled {{nowrap|1 ^3 5 ^6}}. Due to convenience, the names Arto and tendo have been changed to Ultra and Infra.


&lt;table class="wiki_table"&gt;
== Counterpoint ==
    &lt;tr&gt;
24edo is the first edo to have both a [[sqrt(25/24)]] distinct from [[25/24]] and a correct [[5-odd-limit]]. It is thus the first edo which allows to lead the two voices of a major third to a minor third by [[strict contrary motion]]. And vice versa.
        &lt;th&gt;Chord name&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Degrees of 24edo&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Chord spelling&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Audio example&lt;br /&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;neutral&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;0 7 14 21&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1 v3 5 v7&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;!-- ws:start:WikiTextMediaRule:1:&amp;lt;img src=&amp;quot;http://www.wikispaces.com/site/embedthumbnail/file-audio/Neutral%20Tetrad%20on%20C.mp3?h=30&amp;amp;w=200&amp;quot; class=&amp;quot;WikiMedia WikiMediaFile&amp;quot; id=&amp;quot;wikitext@@media@@type=&amp;amp;quot;file&amp;amp;quot; key=&amp;amp;quot;Neutral Tetrad on C.mp3&amp;amp;quot; width=&amp;amp;quot;200&amp;amp;quot; height=&amp;amp;quot;30&amp;amp;quot;&amp;quot; title=&amp;quot;Local Media File&amp;quot;height=&amp;quot;30&amp;quot; width=&amp;quot;200&amp;quot;/&amp;gt; --&gt;&lt;embed src="/s/mediaplayer.swf" pluginspage="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash" quality="high" width="200" height="30" wmode="transparent" flashvars="file=http%253A%252F%252Fxenharmonic.wikispaces.com%252Ffile%252Fview%252FNeutral%252BTetrad%252Bon%252BC.mp3?file_extension=mp3&amp;autostart=false&amp;repeat=false&amp;showdigits=true&amp;showfsbutton=false&amp;width=200&amp;height=30"&gt;&lt;/embed&gt;&lt;!-- ws:end:WikiTextMediaRule:1 --&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;arto&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;0 5 14 20&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1 bv3 5 b7&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;!-- ws:start:WikiTextMediaRule:2:&amp;lt;img src=&amp;quot;http://www.wikispaces.com/site/embedthumbnail/file-audio/arto%20tetrad%20on%20C.mp3?h=30&amp;amp;w=200&amp;quot; class=&amp;quot;WikiMedia WikiMediaFile&amp;quot; id=&amp;quot;wikitext@@media@@type=&amp;amp;quot;file&amp;amp;quot; key=&amp;amp;quot;arto tetrad on C.mp3&amp;amp;quot; width=&amp;amp;quot;200&amp;amp;quot; height=&amp;amp;quot;30&amp;amp;quot;&amp;quot; title=&amp;quot;Local Media File&amp;quot;height=&amp;quot;30&amp;quot; width=&amp;quot;200&amp;quot;/&amp;gt; --&gt;&lt;embed src="/s/mediaplayer.swf" pluginspage="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash" quality="high" width="200" height="30" wmode="transparent" flashvars="file=http%253A%252F%252Fxenharmonic.wikispaces.com%252Ffile%252Fview%252Farto%252Btetrad%252Bon%252BC.mp3?file_extension=mp3&amp;autostart=false&amp;repeat=false&amp;showdigits=true&amp;showfsbutton=false&amp;width=200&amp;height=30"&gt;&lt;/embed&gt;&lt;!-- ws:end:WikiTextMediaRule:2 --&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;tendo&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;0 9 14 19&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1 ^3 5 bv7&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;...&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


&lt;br /&gt;
Furthermore, in the same fashion, every sequence of intervals available in 12edo are reachable by equal contrary motion in 24edo.
&lt;br /&gt;
[[File:Strict-contrary-motion-24edo.png|left|frame|Every sequence of 12edo intervals are reachable by strict contrary motion in 24edo. [[File:24-EDO_Contrary_Motion.flac]]]] {{clear}}
&lt;!-- ws:start:WikiTextHeadingRule:19:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc8"&gt;&lt;a name="Naming Chords in 24edo"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:19 --&gt;Naming Chords in 24edo&lt;/h1&gt;
&lt;br /&gt;
Naming chords in 24edo can be achieved by adding a few things to the already [[#|existing]] set of terms that are used to name 12edo chords.&lt;br /&gt;
They are:&lt;br /&gt;
Super + perfect interval such as &amp;quot;perfect fifth&amp;quot; means to raise it by a quarter tone&lt;br /&gt;
Sub + perfect interval means to lower a quarter tone&lt;br /&gt;
Sharp is to raise by one half tone&lt;br /&gt;
Flat is to raise by a half tone&lt;br /&gt;
Neutral, arto and tendo refer to triads or tetrads&lt;br /&gt;
Neutral, arto, or tendo + interval name of 2nd, 3rd, 6th, or 7th is to alter respectively&lt;br /&gt;
&lt;br /&gt;
Examples:&lt;br /&gt;
Neutral Super Eleventh or neut^11 = C neutral 7th chord with a super 11th thrown on top&lt;br /&gt;
Arto Sub Seventh Tendo Thirteenth or artsub7^13 = Arto tetrad with an arto seventh and a tendo thirteenth on top Minor Seventh Flat Five Arto Ninth Super Eleventh or m7b5^9^11&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:21:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc9"&gt;&lt;a name="Rank two temperaments"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:21 --&gt;Rank two temperaments&lt;/h1&gt;
&lt;a class="wiki_link" href="/List%20of%2024et%20rank%20two%20temperaments%20by%20badness"&gt;List of 24et rank two temperaments by badness&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link" href="/List%20of%20edo-distinct%2024et%20rank%20two%20temperaments"&gt;List of edo-distinct 24et rank two temperaments&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;


== Instruments ==
The ever-arising question in microtonal music, how to play it on instruments designed for 12edo, has a relatively simple answer in the case of 24edo: use two standard instruments tuned a quartertone apart. This [[Microtonal_Keyboards#twelvenoteoctavescales|"12 note octave scales"]] approach is used in a wide part of the existing literature—see below.


&lt;table class="wiki_table"&gt;
=== Guitar ===
    &lt;tr&gt;
Adam Hoey Xen ([https://www.youtube.com/@adamhoeyxen2199/videos on YouTube]) has used a "neutral thirds tuning" of F#-At-C#-Et-G#-Bt on a standard guitar to play in quartertones.
        &lt;th&gt;Periods per octave&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Generator&lt;br /&gt;
&lt;/th&gt;
        &lt;th&gt;Name&lt;br /&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;1&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;1&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;5\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;a class="wiki_link" href="/Semaphore%20and%20Godzilla"&gt;Semaphore/godzilla&lt;/a&gt; / &lt;a class="wiki_link" href="/Chromatic%20pairs#Bridgetown"&gt;Bridgetown&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;1&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;7\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;a class="wiki_link" href="/Mohajira"&gt;Mohajira&lt;/a&gt; (or &lt;a class="wiki_link" href="/maqamic"&gt;maqamic&lt;/a&gt; with 24d val)&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;1&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;11\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;2&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;a class="wiki_link" href="/Shrutar"&gt;Shrutar&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;2&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;5\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Similar to &lt;a class="wiki_link" href="/decimal"&gt;decimal&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;3&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;a class="wiki_link" href="/Semiaug"&gt;Semiaug&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;3&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;3\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;a class="wiki_link" href="/Triforce"&gt;Triforce&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;4&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;6&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;8&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;12&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;1\24&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;&lt;a class="wiki_link" href="/Catler"&gt;Catler&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


&lt;!-- ws:start:WikiTextHeadingRule:23:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc10"&gt;&lt;a name="Scales / Modes"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:23 --&gt;Scales / Modes&lt;/h1&gt;
Guitars with 24 frets per octave are also an option and some guitar makers, such as Ron Sword's [http://metatonalmusic.com Metatonal Music], can make custom instruments and perform re-fretting, with an example below:


&lt;table class="wiki_table"&gt;
[[File:24edo_guitar.jpg|500px]]
    &lt;tr&gt;
        &lt;th colspan="2"&gt;&lt;!-- ws:start:WikiTextHeadingRule:25:&amp;lt;h4&amp;gt; --&gt;&lt;h4 id="toc11"&gt;&lt;a name="Scales / Modes---Pentatonic:"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:25 --&gt;Pentatonic:&lt;/h4&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 8 3 6 5&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Anchihoye: Ethiopia&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;5 5 4 5 5&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Quasi-equal Pentatonic - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/4L%201s"&gt;4L 1s (bug)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;5 5 5 5 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Hába's Pentatonic - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/4L%201s"&gt;4L 1s (bug)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


&lt;br /&gt;
While these are playable, the extra frets can make playing chords and navigating the fretboard significantly more challenging for [[12edo]] chords and scales.


More common is the "Sazocaster" tuning popularised by Australian band King Gizzard and the Lizard Wizard, which adds quarter tones between approximately half the regular frets. Multiple guitar makers, including Eastwood and Revelation, have produced Sazocaster variations.


&lt;table class="wiki_table"&gt;
[[File:Eastwood-guitars-phase-4-mt-2307179.jpg|500px]]
    &lt;tr&gt;
        &lt;th colspan="2"&gt;&lt;!-- ws:start:WikiTextHeadingRule:27:&amp;lt;h4&amp;gt; --&gt;&lt;h4 id="toc12"&gt;&lt;a name="Scales / Modes---Hexatonic:"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:27 --&gt;Hexatonic:&lt;/h4&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 1 8 4 2 8&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Spondeiakos&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


&lt;br /&gt;
=== Harp, Harpsichord, and Piano ===


==== Scordatura tuning of 12edo instruments ====


&lt;table class="wiki_table"&gt;
Hidekazu Wakabayashi tuned a piano and harp to where the normal sharps and flats are tuned 50 cents higher in which he called [[Iceface tuning]]. Iceface tuning is one type of scordatura piano (or other keyboard instrument) tuning. A more complex type of [[Wikipedia:scordatura|scordatura]] tuning was required for a performance of Charles Ives' 4th Symphony which calls for a quarter-tone piano, but for which no quarter-tone piano was available, as described by Thomas Broadhead in [https://www.youtube.com/watch?v=T1G2XFVtnXU this video]. For this composition the gamut of notes needed would not be met using a simple transformation such as Iceface.
    &lt;tr&gt;
        &lt;th colspan="2"&gt;&lt;!-- ws:start:WikiTextHeadingRule:29:&amp;lt;h4&amp;gt; --&gt;&lt;h4 id="toc13"&gt;&lt;a name="Scales / Modes---Heptatonic:"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:29 --&gt;Heptatonic:&lt;/h4&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 1 8 1 1 8 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Enharmonic Mixolydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 8 1 1 8 4 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Enharmonic Lydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;8 1 1 8 4 1 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Enharmonic Phrygian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 1 8 4 1 1 8&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Enharmonic Dorian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 8 4 1 1 8 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Enharmonic Hypolydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;8 4 1 1 8 1 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Enharmonic Hypophrygian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 1 1 8 1 1 8&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Enharmonic Hypodorian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 3 5 2 3 5 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Soft Diatonic Mixolydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 5 2 3 5 4 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Soft Diatonic Lydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;5 2 3 5 4 2 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Soft Diatonic Phrygian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 3 5 4 2 3 5&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Soft Diatonic Dorian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 5 4 2 3 5 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Soft Diatonic Hypolydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;5 4 2 3 5 2 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Soft Diatonic Hypophrygian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 2 3 5 2 3 5&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Soft Diatonic Hypodorian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 4 3 3 4 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Ouchairan-Hussaini, Bayatan, Neutral Diatonic Mixolydian - &lt;a class="wiki_link" href="/MODMOS%20Scales"&gt;MODMOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 3 3 4 4 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Dastgah-e Sehgah, Neutral Diatonic Lydian - &lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/MODMOS%20Scales"&gt;MODMOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 3 4 4 3 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Arabic Diatonic, Maqam Rast, Quasi-equal Heptatonic, Neutral Diatonic Phrygian - &lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/MODMOS%20Scales"&gt;MODMOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 4 4 3 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Hussaini, Ushaq, Neutral Diatonic Dorian - &lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/MODMOS%20Scales"&gt;MODMOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 4 3 3 4 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Sikah (Segah), Neutral Diatonic Hypolydian - &lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/MODMOS%20Scales"&gt;MODMOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 4 3 3 4 3 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Neutral Diatonic Hypophrygian - &lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/MODMOS%20Scales"&gt;MODMOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 3 4 3 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Miha'il Musaqa's mode: Egypt, Neutral Diatonic Hypodorian, Dastgah-e Sehgah, Maqam Nairuz - &lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/MODMOS%20Scales"&gt;MODMOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 5 4 1 5 4 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Diatonic + Enharmonic Diesis Mixolydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;5 4 1 5 4 4 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Diatonic + Enharmonic Diesis Lydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 1 5 4 4 1 5&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Diatonic + Enharmonic Diesis Phrygian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 5 4 4 1 5 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Diatonic + Enharmonic Diesis Dorian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;5 4 4 1 5 4 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Diatonic + Enharmonic Diesis Hypolydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 4 1 5 4 1 5&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Diatonic + Enharmonic Diesis Hypophrygian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 1 5 4 1 5 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Diatonic + Enharmonic Diesis Hypodorian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 3 6 1 3 6 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Chromatic/Enharmonic Mixolydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 6 1 3 6 4 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Chromatic/Enharmonic Lydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;6 1 3 6 4 1 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Chromatic/Enharmonic Phrygian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 3 6 4 1 3 6&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Chromatic/Enharmonic Dorian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 6 4 1 3 6 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Chromatic/Enharmonic Hypolydian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;6 4 1 3 6 1 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Chromatic/Enharmonic Hypophrygian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 1 3 6 1 3 6&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Chromatic/Enharmonic Hypodorian&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 3 3 4 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Neutral Mixolydian - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 3 4 3 4 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Neutral Lydian - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 4 3 4 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Neutral Phrygian - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 3 4 3 4 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Neutral Dorian, Misaelides 2nd Byzantine mode, Maqam Sikah Baladi - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 4 3 4 3 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Neutral Hypolydian - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 3 4 3 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Neutral Hypophrygian - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 4 3 3 4 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Neutral Hypodorian - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/3L%204s"&gt;3L 4s (mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 5 2 4 3 5 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Athanasopoulos' Byzantine Liturgical Chromatic, Dastgah-e Chahargah&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 2 4 4 3 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Dastgah-e Nava, Maqam Ushaq Masri&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 7 1 4 2 7 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Second plagal Byzantine Liturgical mode&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 4 4 2 4 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam 'Ushshaq Turki, Urfa, Isfahan, Dastgah-e Shur&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 4 4 4 2 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Nahfat&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 2 6 2 4 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Saba&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 2 6 2 6 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Sabr Jadid&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 3 4 2 6 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Suznak (Soznak)&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 3 4 4 4 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Mahur&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 4 2 6 2 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Qarjighar, Bayati Shuri&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 2 6 2 4 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Hizam (Huzam, El Houzam), Rahat al Arouah&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 4 4 4 3 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Nawa&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 5 3 4 2 5 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Higaz-kar&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 4 2 4 4 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Su'ar, Naghmeh Abuata, Naghmeh Afshari&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 4 2 4 4 3 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Jahargah (Jiharkah), Naghmeh Bayat-e Tork, Naghmeh Dashti&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 5 2 4 2 4 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Dastgah-e Homayun&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 2 4 4 3 5 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Naghmeh Esfahan&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 6 1 5 2 6 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam 'Awg 'ara (Aug-ara)&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 1 5 4 2 6 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Buselik&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 2 6 2 2 5 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Neuter&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 3 4 4 2 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Dance scale of Yi people: China&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 4 2 3 1 4 6&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Daniel-mode of Spanish-Arab Jews&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


&lt;br /&gt;
Although no recording using the above tuning is currently legally freely available, [[Paweł Mykietyn]] has used a similar idea with harp and harpsichord. A score video of this is available as [https://www.youtube.com/watch?v=_7o0uwPrYas ''Klave for Microtonal Harpsichord and Chamber Orchestra (Score-Video)''] (2004, performed by Elżbieta Chojnacka with Marek Moś conducting the AUKSO chamber orchestra of the city of Tychy, uploaded by Quinone Bob with permission from Paweł Mykietyn); the video starts with slides explaining the scordatura tuning of each manual of the Revival harpsichord (with each manual having a differrent scordatura tuning), followed by the scordatura tuning of the harp.


==== Quarter-tone instruments ====


&lt;table class="wiki_table"&gt;
A very small number of quarter-tone pianos have been built — here are a couple of videos of these instruments being tested/played experimentally (to demonstrate their capabilities rather than to play specific compositions that would qualify for the 24edo Music section):
    &lt;tr&gt;
        &lt;th colspan="2"&gt;&lt;!-- ws:start:WikiTextHeadingRule:31:&amp;lt;h4&amp;gt; --&gt;&lt;h4 id="toc14"&gt;&lt;a name="Scales / Modes---Octatonic:"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:31 --&gt;Octatonic:&lt;/h4&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 3 3 3 3 3 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;8-equal, Wyschnegradsky's octatonic&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 4 4 2 1 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Bayati&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 2 6 2 4 2 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Saba&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 1 2 4 4 2 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Suzidil 'ara&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 3 2 2 4 3 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Mansuri&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 3 4 4 2 1 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Rast, Dilkashidah, Dilnishin&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 2 6 2 4 2 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Rahat al-Arwah&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 3 3 4 4 2 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Iraq&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 6 2 4 2 1 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Hijaz&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 4 2 1 3 4 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Musta'ar&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 4 4 2 4 2 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Farahnak&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 3 3 2 6 2 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Bastanikar, Tarz Nuin&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 2 6 2 4 2 1 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Farah Faza, Maqam Nakriz&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 1 2 4 4 2 4 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Jabburi&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 4 4 2 4 4 4 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Giancarlo Dalmonte's new quarter-tone scale (see &lt;a class="wiki_link_ext" href="http://www.ottavanota.info/" rel="nofollow"&gt;http://www.ottavanota.info&lt;/a&gt;)&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


&lt;br /&gt;
; Quarter-tone grand piano, Czech Museum of Music (this piano is essentially two stacked grand pianos, and as such is massive, in order to avoid sacrificing strings per note)
* [https://www.youtube.com/shorts/Ieqi54XE2lI Demonstration short video by Nahre Sol] (2024)


; Quarter-tone upright piano, Academy of Music in Prague (Czech Republic) (this piano apparently sacrificed number of strings per note in order to be able to fit into a reasonable amount of space)
* [https://www.youtube.com/watch?v=PdP4epQIUrU Demonstration video by Steve Cohn] (2011)


&lt;table class="wiki_table"&gt;
=== Electronic Keyboards ===
    &lt;tr&gt;
        &lt;th colspan="2"&gt;&lt;!-- ws:start:WikiTextHeadingRule:33:&amp;lt;h4&amp;gt; --&gt;&lt;h4 id="toc15"&gt;&lt;a name="Scales / Modes---Enneatonic:"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:33 --&gt;Enneatonic:&lt;/h4&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 2 3 4 4 1 2 3 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Progressive Enneatonic&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 1 4 1 4 1 4 1 4&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;de Vries 9-tone - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/5L%204s"&gt;5L 4s (unfair bug)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 4 2 2 2 2 2 4 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Huzam&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 4 2 1 3 2 2 4 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Shawq Afza&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


&lt;br /&gt;
24edo can also be played on the Lumatone, with better ergonomics than the quarter-tone pianos noted above: see [[Lumatone mapping for 24edo]]


=== Flute ===
Likewise, some flutes have been built by Eva Kingma — here is a video exploring the capabilities of these, intermixed with regular 12edo playing:


&lt;table class="wiki_table"&gt;
; Quarter-tone flute, made by Eva Kingma
    &lt;tr&gt;
* [https://www.youtube.com/watch?v=F3GD0Omr4Z0 Visit to the workshop of Eva Kingma, followed by test by Manuel Luis Cochofel] (2010) (demonstration of fingering starts at 06:56)
        &lt;th colspan="2"&gt;&lt;!-- ws:start:WikiTextHeadingRule:35:&amp;lt;h4&amp;gt; --&gt;&lt;h4 id="toc16"&gt;&lt;a name="Scales / Modes---Decatonic:"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:35 --&gt;Decatonic:&lt;/h4&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 3 2 3 2 2 3 2 3 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Young Decatonic - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/4L%205s"&gt;4L 5s (fair bug)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 2 1 2 2 2 1 2 2 1 2 2 2 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Young Half-Octave Diatonic - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/10L%204s"&gt;10L 4s&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;3 1 3 3 3 1 3 3 1 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Breed Decatonic - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/7L%203s"&gt;7L 3s (unfair mosh)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 3 2 2 3 2 3 2 2 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Oljare Decatonic - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/4L%206s"&gt;4L 6s (fair bicycle)&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 1 3 2 2 4 2 4 2 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Shawq Tarab&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 2 1 3 2 2 4 2 1 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Basandida&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 3 1 2 1 3 4 2 1 3&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Maqam Yakah&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


&lt;br /&gt;
== Music ==
{{Wikipedia|List of quarter tone pieces}}
{{Main|{{ROOTPAGENAME}}/Music}}{{clear}}


== Further reading ==
* Ellis, Don. ''[https://archive.org/details/don-ellis-quarter-tones/ Quarter Tones: A Text with Musical Examples, Exercises and Etudes]''. 1975.
* [[Sword, Ron]]. ''[http://www.metatonalmusic.com/books.html Icosikaitetraphonic Scales for Guitar: Theory and Scales for Twenty-four Equal Divisions of the Octave]''. 2009. (Features a practical approach to understanding the tuning, and over 550 scale examples on nine-string finger board charts, which allows for both symmetrical tuning visualization and standard guitar tuning- helpful for bassists and large range guitarists as well. Includes MOS, DE, and *all* the scales/modes from the list above.)


&lt;table class="wiki_table"&gt;
== See also ==
    &lt;tr&gt;
* [[Equal-step tuning|Equal multiplications]] of MIDI-resolution units
        &lt;th colspan="2"&gt;&lt;!-- ws:start:WikiTextHeadingRule:37:&amp;lt;h4&amp;gt; --&gt;&lt;h4 id="toc17"&gt;&lt;a name="Scales / Modes---Hendecatonic:"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:37 --&gt;Hendecatonic:&lt;/h4&gt;
** [[48edo]] (2mu tuning)
&lt;/th&gt;
** [[96edo]] (3mu tuning)
    &lt;/tr&gt;
** [[192edo]] (4mu tuning)
    &lt;tr&gt;
** [[384edo]] (5mu tuning)
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;4 2 1 3 2 2 2 2 3 1 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
** [[768edo]] (6mu tuning)
&lt;/td&gt;
** [[1536edo]] (7mu tuning)
        &lt;td&gt;Maqam Hayyan&lt;br /&gt;
** [[3072edo]] (8mu tuning)
&lt;/td&gt;
** [[6144edo]] (9mu tuning)
    &lt;/tr&gt;
** [[12288edo]] (10mu tuning)
&lt;/table&gt;
** [[24576edo]] (11mu tuning)
** [[49152edo]] (12mu tuning)
** [[98304edo]] (13mu tuning)
** [[196608edo]] (14mu tuning)


&lt;br /&gt;
== External links ==
* [http://tonalsoft.com/enc/q/quarter-tone.aspx quarter-tone / 24-edo / 24-ed2] [https://www.webcitation.org/5xeFMH6cd Permalink] on [[Tonalsoft Encyclopedia]]
* [http://www.96edo.com/24_EDO.html About 24-EDO] [https://www.webcitation.org/5xeFBNdQW Permalink] by Shaahin Mohajeri
* [https://docs.google.com/file/d/0Bzrl-iLY6DeEVkl1VjBGdEJlOTg/edit Notation and Chord Names for 24-EDO] by William Lynch
* [http://www.tonalsoft.com/sonic-arts/darreg/dar8.htm The place of QUARTERTONES in Today's Xenharmonics] by [[Ivor Darreg]]
* [http://tonalsoft.com/enc/q/quarter-tone.aspx Tonalsoft Encyclopedia | ''quarter-tone / 24-edo / 24-ed2'']


{{Todo| cleanup }}


&lt;table class="wiki_table"&gt;
== Notes ==
    &lt;tr&gt;
<references group="note" />
        &lt;th colspan="2"&gt;&lt;!-- ws:start:WikiTextHeadingRule:39:&amp;lt;h4&amp;gt; --&gt;&lt;h4 id="toc18"&gt;&lt;a name="Scales / Modes---Tridecatonic:"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:39 --&gt;Tridecatonic:&lt;/h4&gt;
&lt;/th&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;1 2 2 2 2 2 2 1 2 2 2 2 2&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;de Vries 13-tone - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/11L%202s"&gt;11L 2s&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;tt&gt;&lt;strong&gt;2 2 2 2 2 1 2 2 2 2 2 2 1&lt;/strong&gt;&lt;/tt&gt;&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Agmon Diatonic DS5, Ivan Wyschnegradsky's diatonicized chromatic scale - &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; of type &lt;a class="wiki_link" href="/11L%202s"&gt;11L 2s&lt;/a&gt;&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
&lt;/table&gt;


&lt;br /&gt;
[[Category:Semaphore]]
&lt;br /&gt;
[[Category:Godzilla]]
&lt;!-- ws:start:WikiTextHeadingRule:41:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc19"&gt;&lt;a name="Instruments"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:41 --&gt;Instruments&lt;!-- ws:start:WikiTextAnchorRule:80:&amp;lt;img src=&amp;quot;/i/anchor.gif&amp;quot; class=&amp;quot;WikiAnchor&amp;quot; alt=&amp;quot;Anchor&amp;quot; id=&amp;quot;wikitext@@anchor@@instruments&amp;quot; title=&amp;quot;Anchor: instruments&amp;quot;/&amp;gt; --&gt;&lt;a name="instruments"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextAnchorRule:80 --&gt;&lt;/h1&gt;
[[Category:Meantone]]
The ever-arising question in microtonal music, how to play it on instruments designed for 12edo, has a relatively simple answer in the case of 24edo: use two standard instruments tuned a quartertone apart. This &lt;a class="wiki_link" href="/Microtonal%20Keyboards#twelvenoteoctavescales"&gt;&amp;quot;12 note octave scales&amp;quot;&lt;/a&gt; approach is used in a wide part of the existing literature - see below.&lt;br /&gt;
[[Category:Quartertone]]
&lt;!-- ws:start:WikiTextRemoteImageRule:1545:&amp;lt;img src=&amp;quot;http://www.swordguitars.com/Sword_quartertone_stratsm.jpg&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; style=&amp;quot;height: 195px; width: 406px;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://www.swordguitars.com/Sword_quartertone_stratsm.jpg" alt="external image Sword_quartertone_stratsm.jpg" title="external image Sword_quartertone_stratsm.jpg" style="height: 195px; width: 406px;" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1545 --&gt;24-tone &amp;quot;1/4-tone&amp;quot; Guitar by Ron Sword / Sword guitars&lt;br /&gt;
[[Category:Quartismic]]
&lt;br /&gt;
[[Category:Subgroup temperaments]]
&lt;!-- ws:start:WikiTextHeadingRule:43:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc20"&gt;&lt;a name="Compositions"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:43 --&gt;Compositions&lt;/h1&gt;
[[Category:Twentuning]]
&lt;!-- ws:start:WikiTextHeadingRule:45:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc21"&gt;&lt;a name="Compositions-Music"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:45 --&gt;Music&lt;/h2&gt;
[[Category:Lists of intervals]]
&lt;span class="ymp-btn-page-play ymp-media-eb56a917c62000140296c2e1a6d89911"&gt;&lt;a class="wiki_link_ext" href="http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Mohajeri/Microhex3.mp3" rel="nofollow"&gt;Microhex3&lt;/a&gt;&lt;/span&gt; &lt;span class="ymp-btn-page-play ymp-media-750620955011dabb8bc98c7c8830cbb8"&gt;&lt;a class="wiki_link_ext" href="http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Mohajeri/Microhex4.mp3" rel="nofollow"&gt;Microhex4&lt;/a&gt;&lt;/span&gt; and &lt;span class="ymp-btn-page-play ymp-media-4aeb7c299c23983ba8081a591562e704"&gt;&lt;a class="wiki_link_ext" href="http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Mohajeri/Microhex5.mp3" rel="nofollow"&gt;Microhex5&lt;/a&gt;&lt;/span&gt; by &lt;a class="wiki_link_ext" href="http://www.96edo.com/About_me.html" rel="nofollow"&gt;Shaahin Mohajeri&lt;/a&gt;&lt;br /&gt;
&lt;span class="ymp-btn-page-play ymp-media-30832be5610668b4b42451c8ce82dc80"&gt;&lt;a class="wiki_link_ext" href="http://micro.soonlabel.com/24et/quarterpicnic.mp3" rel="nofollow"&gt;Quarterpicnic&lt;/a&gt;&lt;/span&gt; by &lt;a class="wiki_link" href="/Chris%20Vaisvil"&gt;Chris Vaisvil&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link_ext" href="http://micro.soonlabel.com/gene_ward_smith/Others/BeDell/Quarter%20Tone%20Prelude%20for%20two%20Harps.mp3" rel="nofollow"&gt;Quarter Tone Prelude For Two Harps&lt;/a&gt; by &lt;a class="wiki_link_ext" href="http://soundcloud.com/cerbeus-1/quarter-tone-prelude-for-two" rel="nofollow"&gt;Nathan BeDell&lt;/a&gt;&lt;br /&gt;
&lt;span class="ymp-btn-page-play ymp-media-2738730931ba168a7364a84b5417488d"&gt;&lt;a class="wiki_link_ext" href="http://micro.soonlabel.com/24et/daily20111021-fretless-1.mp3" rel="nofollow"&gt;Fretless Chrome 1&lt;/a&gt;&lt;/span&gt; and &lt;span class="ymp-btn-page-play ymp-media-d35cb71128e927701930058ebd16b778"&gt;&lt;a class="wiki_link_ext" href="http://micro.soonlabel.com/24et/daily20111021-fretless-2.mp3" rel="nofollow"&gt;Fretless Chrome 2&lt;/a&gt;&lt;/span&gt; by &lt;a class="wiki_link_ext" href="http://chrisvaisvil.com/?p=1477" rel="nofollow" target="_blank"&gt;Chris Vaisvil&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link_ext" href="http://micro.soonlabel.com/gene_ward_smith/Others/Freivald/Lament.mp3" rel="nofollow"&gt;Lament&lt;/a&gt; by &lt;a class="wiki_link_ext" href="http://soundcloud.com/jdfreivald/lament" rel="nofollow"&gt;Jake Freivald&lt;/a&gt;. In the &lt;a class="wiki_link" href="/freivaldneutral24"&gt;freivaldneutral24&lt;/a&gt; scale.&lt;br /&gt;
&lt;a class="wiki_link_ext" href="https://soundcloud.com/jdfreivald/mo-happy-happy" rel="nofollow"&gt;Mo - Happy - Happy&lt;/a&gt; &lt;a class="wiki_link_ext" href="http://micro.soonlabel.com/gene_ward_smith/Others/Freivald/mo-happy-happy.mp3" rel="nofollow"&gt;play&lt;/a&gt; by Jake Freivald in Neutraltet[7] (2.3.11 mohajira), 24et tuning&lt;br /&gt;
&lt;a class="wiki_link_ext" href="http://www.youtube.com/watch?v=q1Lp8AtKK9o" rel="nofollow"&gt;Autumn Winds&lt;/a&gt;, &lt;a class="wiki_link_ext" href="http://www.youtube.com/watch?v=Igxe3DwbFJ4&amp;amp;feature=c4-overview&amp;amp;list=UUvq5bg-LvOS6adpB5efPTyQ" rel="nofollow"&gt;Easter Time at Nine&lt;/a&gt;, &lt;a class="wiki_link_ext" href="http://www.youtube.com/watch?v=z_3uhA9Cq08&amp;amp;list=UUvq5bg-LvOS6adpB5efPTyQ" rel="nofollow"&gt;Waters of Persia&lt;/a&gt; by William Lynch in mohajira, 24et tuning.&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:47:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc22"&gt;&lt;a name="Compositions-About"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:47 --&gt;About&lt;/h2&gt;
&amp;quot;Prométhée enchaîné&amp;quot; by &lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Fromental_Hal%C3%A9vy" rel="nofollow"&gt;Fromental Halévy&lt;/a&gt; (considered the first mainstream western orchestral composition to use quarter tones.)&lt;br /&gt;
&amp;quot;3 Hommages&amp;quot; by &lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Georg_Friedrich_Haas" rel="nofollow"&gt;Georg Friedrich Haas&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/List_of_quarter_tone_pieces" rel="nofollow"&gt;List of quartertone pieces on Wikipedia&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:49:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc23"&gt;&lt;a name="Practical Theory / Books"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:49 --&gt;Practical Theory / Books&lt;/h1&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextRemoteImageRule:1546:&amp;lt;img src=&amp;quot;http://ronsword.com/images/24_tet_Coversm.jpg&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; style=&amp;quot;height: 236px; width: 179px;&amp;quot; /&amp;gt; --&gt;&lt;img src="http://ronsword.com/images/24_tet_Coversm.jpg" alt="external image 24_tet_Coversm.jpg" title="external image 24_tet_Coversm.jpg" style="height: 236px; width: 179px;" /&gt;&lt;!-- ws:end:WikiTextRemoteImageRule:1546 --&gt;&lt;strong&gt;&amp;quot;Icosakaiteraphonic Scales for Guitar&amp;quot;&lt;/strong&gt; - A Book for Twenty-Four Equal Divisions of the Octave on guitar, or 'Quarter-tones'. Features a practical approach to understanding the tuning, and over 550 Scale Examples on Nine-String finger board charts, which allows for both symmetrical tuning visualization and standard guitar tuning- helpful for bassists and large range guitarists as well. Includes MOS, DE, and *all* the Scales / Modes from the list above.&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:51:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc24"&gt;&lt;a name="External links"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:51 --&gt;External links&lt;/h1&gt;
&lt;a class="wiki_link_ext" href="http://tonalsoft.com/enc/q/quarter-tone.aspx" rel="nofollow"&gt;quarter-tone / 24-edo - Encyclopedia of Microtonal Music Theory&lt;/a&gt; &lt;a class="wiki_link_ext" href="http://www.webcitation.org/5xeFMH6cd" rel="nofollow"&gt;Permalink&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link_ext" href="http://www.96edo.com/24_EDO.html" rel="nofollow"&gt;About 24-EDO&lt;/a&gt; by Shaahin Mohajeri &lt;a class="wiki_link_ext" href="http://www.webcitation.org/5xeFBNdQW" rel="nofollow"&gt;Permalink&lt;/a&gt;&lt;br /&gt;
&lt;a class="wiki_link_ext" href="https://docs.google.com/file/d/0Bzrl-iLY6DeEVkl1VjBGdEJlOTg/edit" rel="nofollow"&gt;Notation and Chord Names for 24-EDO&lt;/a&gt; by William Lynch&lt;br /&gt;
&lt;a class="wiki_link_ext" href="http://sonic-arts.org/darreg/contents.htm" rel="nofollow"&gt;The place of QUARTERTONES in Today's Xenharmonics&lt;/a&gt; by &lt;a class="wiki_link" href="/Ivor%20Darreg"&gt;Ivor Darreg&lt;/a&gt; &lt;a class="wiki_link_ext" href="http://sonic-arts.org/darreg/dar8.htm" rel="nofollow"&gt;Permalink&lt;/a&gt;&lt;/body&gt;&lt;/html&gt;</pre></div>