14edo is the double of [[7edo]], and thus contains its flat 686{{C}} fifth, while adding new intervals halfway between each 7edo step. The intervals of 14edo not found in 7edo are [[Backslash notation|1\14]] = 86{{C}}, 3\14 = 257{{C}}, 5\14 = 429{{C}}, 7\14 = 600{{C}}, and their [[octave complement]]s. The 1\14 interval is a small semitone, and its inversion a major seventh, which is suitable for a {{w|leading tone}}. The 3\14 interval can be considered a small [[subminor third]] (or inframinor third), thus bringing a new, distinct flavor from the [[neutral third]] of 7edo, which is 4 steps of 14edo. The 5\14 interval is the [[fifth complement]] of 3\14, and can be considered a [[supermajor third]], so that stacking 3\14 and 5\14 gives the triad 0–3–8 steps (0–257–686{{C}}). Finally, the 7\14 interval is the familiar [[tritone]] found in [[12edo]], as well as every even-numbered [[edo]].
In terms of [[just intonation]], 14edo contains the approximation of [[3/2]] from 7edo. 14edo does not do well in the [[5-limit]], with [[5/4]] being close to halfway between its steps, so that 14edo does not approximate the [[4:5:6]] major triad or the [[10:12:15|1/(6:5:4)]] minor triad accurately. The closest approximation of [[7/4]] is very flat at 11\14 (943{{C}}), so that two of them stack to [[3/1]], meaning that [[49/48]] is [[tempering out|tempered out]], so that 14edo [[support]]s the [[semaphore]] temperament. However, since the 3rd harmonic is flat, the [[7/6]] and [[9/7]] intervals are approximated much more accurately, so that the 0–3–8 steps triad is a usable approximation of [[6:7:9]], and the 0–5–8 steps (0–429–686{{C}}) triad approximates [[14:18:21|1/(9:7:6)]]. The semaphore temperament notably generates the [[mos scale]] with pattern [[5L 4s]] (named ''semiquartal''), which contains many [[~]]6:7:9 and ~1/(9:7:6) triads. In the [[11-limit]], the [[11/8]] interval is tuned very flat and equated with [[4/3]]. However, [[11/9]] is tuned rather accurately, being represented with the 4\14 interval (343{{C}}), so that the [[Neutral (interval quality)|neutral]] triad formed by dividing the perfect fifth in two can be interpreted as a stack of two [[11/9]]'s, thus tempering out [[243/242]]. The neutral third can also be stacked on the supermajor third to get a ~[[7:9:11]] chord.
14 EDO tempers out the following commas. (Note: This assumes the val < 14 22 33 39 48 52 |.)
||~ Comma ||~ Monzo ||~ Value (Cents) ||~ Name 1 ||~ Name 2 ||
While prime [[5/1|5]] is poorly approximated, the [[7/5]] and [[11/10]] intervals are approximated fairly well. If we accept these approximations in addition to the ones described earlier, then we end up with a low-complexity, high-damage full [[11-limit]] temperament where many rather large [[comma]]s are tempered out. This leads to some of the bizarre equivalences described in the second "Approximate ratios" column in the table. This mapping uses the (barely) second-best mapping of prime 5, so it is notated with [[wart notation]] as "14c", where c is the 3rd letter of the alphabet, and 5 is the 3rd prime number. While not very accurate as a temperament, this mapping can be used to classify 11-limit intervals, which conveniently tempers out the [[square superparticular]]s of odds 5, 7, 9, and 11, and is the unique mapping to do so.
14et has quite a bit of [[xenharmonic]] appeal, in a similar way to [[17edo|17et]], on account of having three types of 3rd and three types of 6th, rather than the usual two of [[12et]]. Since 14et also has a recognizable 4th and 5th, this makes it good for those wishing to explore alternative triadic harmonies without adding significantly more notes. The 5L 4s mos scale is rich in triads, wherein 7 of 9 notes are [[tonic]] to a subminor, supermajor, and/or neutral triad.
//A Tetradecaphonic Guitar. 14-EDO Guitar by Ron Sword.//
==**Books:**==
14edo also contains an [[omnidiatonic]] scale that can replace the standard diatonic scale, allowing for recognizable triadic harmony using the chords [[6:7:9]] and [[14:18:21]], as well as a neutral chord which can be seen as [[2:sqrt(6):3]].
//Sword, Ron. "Tetradecaphonic Scales for Guitar" IAAA Press. First Ed: June 2009.//
==**Compositions:**==
=== Prime harmonics ===
[[http://ralphjarzombek.webs.com/|14-tone Equal Temperament]] by Ralph Jarzombek
{{Harmonics in equal|14}}
[[http://clones.soonlabel.com/public/micro/jon-lyle-smith/Thorium%20Road.mp3|Thorium Road]] by [[John Lyle Smith]]
[[http://www.io.com/%7Ehmiller/midi/egress.mid|This Way to the Egress]] by [[http://www.io.com/%7Ehmiller/music/index.html|Herman Miller]]
[[http://home.snafu.de/djwolf/IvorDarregInEagleRock.pdf|Ivor Darreg in Eagle Rock]] by [[Daniel Wolf]]
[[http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Barton/Hyperimprovisation%20Tasty.mp3|Hyperimprovisation 'Tasty']] by [[Jacob Barton]]
[[http://www.h-pi.com/mp3/14ETPrelude.mp3|14ETPrelude]] by [[Aaron Andrew Hunt]]
||~ ||~ ||~ ||~ ||~ ||
=== Subsets and supersets ===
||= ||< ||> ||= ||= ||
Since 14 factors into primes as 2 × 7, 14edo contains [[2edo]] and [[7edo]] as subsets.
<!-- ws:start:WikiTextLocalImageRule:556:&lt;img src=&quot;/file/view/Ciclo_Tetradecafon%C3%ADa.png/233692646/456x468/Ciclo_Tetradecafon%C3%ADa.png&quot; alt=&quot;Intervallic Cycle of 14 steps Equal per Octave&quot; title=&quot;Intervallic Cycle of 14 steps Equal per Octave&quot; style=&quot;height: 468px; width: 456px;&quot; /&gt; --><table class="captionBox"><tr><td class="captionedImage"><img src="/file/view/Ciclo_Tetradecafon%C3%ADa.png/233692646/456x468/Ciclo_Tetradecafon%C3%ADa.png" alt="Ciclo_Tetradecafonía.png" title="Ciclo_Tetradecafonía.png" style="height: 468px; width: 456px;" /></td></tr><tr><td class="imageCaption">Intervallic Cycle of 14 steps Equal per Octave</td></tr></table><!-- ws:end:WikiTextLocalImageRule:556 --><br />
=== Sagittal notation ===
<br />
This notation uses the same sagittal sequence as [[9edo#Sagittal notation|9-EDO]], is a subset of the notations for EDOs [[28edo#Sagittal notation|28]] and [[42edo#Second-best fifth notation|42b]], and is a superset of the notation for [[7edo#Sagittal notation|7-EDO]].
''The 14-tone scale presents a new situation: while one might use ordinary sharps and flats in addition to conventional naturals for the notes of the 7-tone-equal temperament, it would be misleading and confusing to do so, because there is a 7-tone circle of fifths (admittedly quite distorted) already notatable and nameable as F C G D A E B in the usual manner. But there is no 14-tone circle of fifths. There is simply a second set of 7 fifths in a circle which does not intersect the with the first set. Thus is we think of B-flat and B, or B-natural and F-sharp, the 14-tone-system interval would NOT be a fifth of that system and would not sound like one, since B F would be the very same kind of distorted fifth that C G or A E happens to be in 7 or 14. Our suggestion is to call the new notes of 14, the second set of 7, F* C* G* D* A* E* B*, and use asterisks or arrows or whatever you please on the staff. Or just number the tones as for 13.''
<!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="x14 tone equal temperament-14 tone equal modes:"></a><!-- ws:end:WikiTextHeadingRule:6 --><strong>14 tone equal <a class="wiki_link" href="/modes">modes</a>:</strong></h2>
<em>Sword, Ron. &quot;Tetradecaphonic Scales for Guitar&quot; IAAA Press. First Ed: June 2009.</em><br />
<br />
<!-- ws:start:WikiTextHeadingRule:12:&lt;h2&gt; --><h2 id="toc6"><a name="x14 tone equal temperament-Compositions:"></a><!-- ws:end:WikiTextHeadingRule:12 --><strong>Compositions:</strong></h2>
<a class="wiki_link_ext" href="http://ralphjarzombek.webs.com/" rel="nofollow">14-tone Equal Temperament</a> by Ralph Jarzombek<br />
<a class="wiki_link_ext" href="http://www.io.com/%7Ehmiller/midi/egress.mid" rel="nofollow">This Way to the Egress</a> by <a class="wiki_link_ext" href="http://www.io.com/%7Ehmiller/music/index.html" rel="nofollow">Herman Miller</a><br />
<a class="wiki_link_ext" href="http://home.snafu.de/djwolf/IvorDarregInEagleRock.pdf" rel="nofollow">Ivor Darreg in Eagle Rock</a> by <a class="wiki_link" href="/Daniel%20Wolf">Daniel Wolf</a><br />
Ups and downs can be used to name 14edo chords. Because every interval is perfect, the quality can be omitted, and the words major, minor, augmented and diminished are never used. Alterations are always enclosed in parentheses, additions never are. An up or down immediately after the chord root affects the 3rd, 6th, 7th, and/or the 11th (every other note of a stacked-3rds chord 6-1-3-5-7-9-11-13).
0-4-8 = C E G = C = C or C perfect<br>
0-3-8 = C vE G = Cv = C down<br>
0-5-8 = C ^E G = C^ = C up<br>
0-4-7 = C E vG = C(v5) = C down-five<br>
0-5-9 = C ^E ^G = C^(^5) = C up up-five<br>
0-4-8-12 = C E G B = C7 = C seven<br>
0-4-8-11 = C E G vB = C,v7 = C add down-seven<br>
0-3-8-12 = C vE G B = Cv,7 = C down add seven<br>
0-3-8-11 = C vE G vB = Cv7 = C down-seven
For a more complete list, see [[Ups and downs notation #Chords and Chord Progressions]].
== Approximation to JI ==
=== Selected just intervals by error ===
==== Selected 13-limit intervals ====
[[File:14ed2-001.svg|alt=alt : Your browser has no SVG support.]]
=== Interval mappings ===
{{Q-odd-limit intervals|14}}
{{Q-odd-limit intervals|13.95|apx=val|header=none|tag=none|title=15-odd-limit intervals by 14c val mapping}}
== Regular temperament properties ==
{| class="wikitable center-4 center-5 center-6"
|-
! rowspan="2" | [[Subgroup]]
! rowspan="2" | [[Comma list]]
! rowspan="2" | [[Mapping]]
! rowspan="2" | Optimal<br>8ve stretch (¢)
! colspan="2" | Tuning error
|-
! [[TE error|Absolute]] (¢)
! [[TE simple badness|Relative]] (%)
|-
| 2.3.7
| 49/48, 2187/2048
| {{mapping| 14 22 39 }}
| +6.52
| 4.64
| 5.38
|-
| 2.3.7.11
| 33/32, 49/48, 243/242
| {{mapping| 14 22 39 48 }}
| +7.58
| 4.42
| 5.12
|}
=== Uniform maps ===
{{Uniform map|edo=14}}
=== Rank-2 temperaments ===
* [[List of 14edo rank two temperaments by badness]]
=== Commas ===
14et [[tempering out|tempers out]] the following [[comma]]s. This assumes the [[val]] {{val| 14 22 33 39 48 52 }}.
14edo benefits from [[octave stretch]] as harmonics 3, 7, and 11 are all tuned flat. [[22edt]], [[ed6|36ed6]] and [[42zpi]] are among the possible choices.
== Scales ==
=== MOS scales ===
{{Main|List of MOS scales in {{PAGENAME}}}}
Here are the modes that create MOS scales in 14edo shown on horagrams from Scala, skipping multiples of 14:
[[File:Screen Shot 2020-04-23 at 11.47.09 PM.png|none|thumb|877x877px|3\14 MOS using 1L 1s, 1L 2s, 1L 3s, 4L 1s, 5L 4s]]
[[File:Screen Shot 2020-04-23 at 11.47.30 PM.png|none|thumb|870x870px|5\14 MOS using 1L 1s, 2L 1s, 3L 2s, 3L 5s, 3L 8s]]
==== Beep[9] ====
14edo is also the largest edo whose patent val [[support]]s [[beep]] temperament, tempering out the chromatic semitone (21:20), and falling toward the "brittle" (fifths wider than in 9edo) end of that spectrum. beep is one of the simplest 7-limit temperaments, although rather inaccurate (the 7:5 is mapped onto 6\14, over 70 cents flat). Its otonal/major and utonal/minor tetrads are inversions of one another, which allows a greater variety of chord progressions (since different inversions of the same chord may have very different expressive qualities). Despite being so heavily tempered, the tetrads are still recognizable and aren't unpleasant-sounding as long as one uses the right timbres ("bell-like" or opaque-sounding ones probably work best). beep forms enneatonic modes which are melodically strong and are very similar to diatonic modes, only with two mediants and submediants instead of one. Beep[9] has similarities to mavila, slendro, and pelog scales as well.
Using beep[9], we could name the intervals of 14edo as follows. The 3, 5, 6, 8, 9, and 11-step intervals are all consonant, while 1, 2, 4, 7, 10, 12, and 13 steps are dissonant. There is no distinction between "perfect" (modulatory) and "imperfect" (major/minor) consonances here; there are enough chords here that root motion may occur by ''any'' consonant interval, and thus ''all'' six consonances are "perfect" intervals, rather than just two of them as in the diatonic system. As in the diatonic scale, the perfect intervals come in pairs separated by a major second, and with a characteristic dissonance between them; in beep[9] there are three such pairs rather than just one.
* 1\14: Minor 2nd<sub>9</sub>: functions similarly to the diatonic minor second, but is more incisive.
* 2\14: Major 2nd<sub>9</sub>: functions similarly to the diatonic major second, but is narrower and has a rather different quality.
* 3\14: Perfect 3rd<sub>9</sub>: the generator, standing in for 8:7, 7:6, ''and'' 6:5, but closest to 7:6.
* 4\14: Augmented 3rd<sub>9</sub>, diminished 4th<sub>9</sub>: A dissonance, falling in between two perfect consonances and hence analogous to the tritone.
* 5\14: Perfect 4th<sub>9</sub>: technically represents 5:4 but is quite a bit wider.
* 6\14: Perfect 5th<sub>9</sub>: represents 4:3 and 7:5, much closer to the former.
* 7\14: Augmented 5th<sub>9</sub>, diminished 6th<sub>9</sub>: The so-called "tritone" (but no longer made up of three whole tones). Like 4\14 and 10\14, this is a characteristic dissonance separating a pair of perfect consonances.
* 8\14: Perfect 6th<sub>9</sub>: represents 10:7 and 3:2, much closer to the latter.
* 9\14: Perfect 7th<sub>9</sub>: technically represents 8:5 but noticeably narrower.
* 10\14: Augmented 7th<sub>9</sub>, diminished 8th<sub>9</sub>: The third and final characteristic dissonance, analogous to the tritone.
* 11\14: Perfect 8th<sub>9</sub>: Represents 5:3, 12:7 and 7:4.
* 12\14: Minor 9th<sub>9</sub>: Analogous to the diatonic minor seventh, but sharper than usual.
* 13\14: Major 9th<sub>9</sub>: A high, incisive leading tone.
* 14\14: The 10th<sub>9</sub> or "enneatonic decave" (i. e. the octave, 2:1).
[[Lumatone mapping for 14edo|Lumatone mappings for 14edo]] are available.
== Music ==
{{Main|14edo/Music}}
{{Catrel|14edo tracks}}
== See also ==
* [[MisterShafXen’s take on 14edo harmony]]
== Further reading ==
[[File:Libro_Tetradecafónico.PNG|alt=Libro_Tetradecafónico.PNG|Libro_Tetradecafónico.PNG|thumb|''Tetradecaphonic Scales for Guitar'' cover art.]]
* [[Sword, Ron]]. ''[http://www.metatonalmusic.com/books.html Tetradecaphonic Scales for Guitar: Scales, Chord-Scales, Notation, and Theory for Fourteen Equal Divisions of the Octave]''. 2009.
[[Category:14edo| ]] <!-- main article -->
[[Category:Equal divisions of the octave|##]] <!-- 2-digit number -->
14 equal divisions of the octave (abbreviated 14edo or 14ed2), also called 14-tone equal temperament (14tet) or 14 equal temperament (14et) when viewed under a regular temperament perspective, is the tuning system that divides the octave into 14 equal parts of about 85.7 ¢ each. Each step represents a frequency ratio of 21/14, or the 14th root of 2.
14edo is the double of 7edo, and thus contains its flat 686 ¢ fifth, while adding new intervals halfway between each 7edo step. The intervals of 14edo not found in 7edo are 1\14 = 86 ¢, 3\14 = 257 ¢, 5\14 = 429 ¢, 7\14 = 600 ¢, and their octave complements. The 1\14 interval is a small semitone, and its inversion a major seventh, which is suitable for a leading tone. The 3\14 interval can be considered a small subminor third (or inframinor third), thus bringing a new, distinct flavor from the neutral third of 7edo, which is 4 steps of 14edo. The 5\14 interval is the fifth complement of 3\14, and can be considered a supermajor third, so that stacking 3\14 and 5\14 gives the triad 0–3–8 steps (0–257–686 ¢). Finally, the 7\14 interval is the familiar tritone found in 12edo, as well as every even-numbered edo.
In terms of just intonation, 14edo contains the approximation of 3/2 from 7edo. 14edo does not do well in the 5-limit, with 5/4 being close to halfway between its steps, so that 14edo does not approximate the 4:5:6 major triad or the 1/(6:5:4) minor triad accurately. The closest approximation of 7/4 is very flat at 11\14 (943 ¢), so that two of them stack to 3/1, meaning that 49/48 is tempered out, so that 14edo supports the semaphore temperament. However, since the 3rd harmonic is flat, the 7/6 and 9/7 intervals are approximated much more accurately, so that the 0–3–8 steps triad is a usable approximation of 6:7:9, and the 0–5–8 steps (0–429–686 ¢) triad approximates 1/(9:7:6). The semaphore temperament notably generates the mos scale with pattern 5L 4s (named semiquartal), which contains many ~6:7:9 and ~1/(9:7:6) triads. In the 11-limit, the 11/8 interval is tuned very flat and equated with 4/3. However, 11/9 is tuned rather accurately, being represented with the 4\14 interval (343 ¢), so that the neutral triad formed by dividing the perfect fifth in two can be interpreted as a stack of two 11/9's, thus tempering out 243/242. The neutral third can also be stacked on the supermajor third to get a ~7:9:11 chord.
While prime 5 is poorly approximated, the 7/5 and 11/10 intervals are approximated fairly well. If we accept these approximations in addition to the ones described earlier, then we end up with a low-complexity, high-damage full 11-limit temperament where many rather large commas are tempered out. This leads to some of the bizarre equivalences described in the second "Approximate ratios" column in the table. This mapping uses the (barely) second-best mapping of prime 5, so it is notated with wart notation as "14c", where c is the 3rd letter of the alphabet, and 5 is the 3rd prime number. While not very accurate as a temperament, this mapping can be used to classify 11-limit intervals, which conveniently tempers out the square superparticulars of odds 5, 7, 9, and 11, and is the unique mapping to do so.
14et has quite a bit of xenharmonic appeal, in a similar way to 17et, on account of having three types of 3rd and three types of 6th, rather than the usual two of 12et. Since 14et also has a recognizable 4th and 5th, this makes it good for those wishing to explore alternative triadic harmonies without adding significantly more notes. The 5L 4s mos scale is rich in triads, wherein 7 of 9 notes are tonic to a subminor, supermajor, and/or neutral triad.
14edo also contains an omnidiatonic scale that can replace the standard diatonic scale, allowing for recognizable triadic harmony using the chords 6:7:9 and 14:18:21, as well as a neutral chord which can be seen as 2:sqrt(6):3.
The 14-tone scale presents a new situation: while one might use ordinary sharps and flats in addition to conventional naturals for the notes of the 7-tone-equal temperament, it would be misleading and confusing to do so, because there is a 7-tone circle of fifths (admittedly quite distorted) already notatable and nameable as F C G D A E B in the usual manner. But there is no 14-tone circle of fifths. There is simply a second set of 7 fifths in a circle which does not intersect the with the first set. Thus is we think of B-flat and B, or B-natural and F-sharp, the 14-tone-system interval would NOT be a fifth of that system and would not sound like one, since B F would be the very same kind of distorted fifth that C G or A E happens to be in 7 or 14. Our suggestion is to call the new notes of 14, the second set of 7, F* C* G* D* A* E* B*, and use asterisks or arrows or whatever you please on the staff. Or just number the tones as for 13.
The following chart (made by TDW) shows this recommendation as "standard notation" as well as a proposed alternative.
Intervallic Cycle of 14 steps Equal per Octave
Chord names
Ups and downs can be used to name 14edo chords. Because every interval is perfect, the quality can be omitted, and the words major, minor, augmented and diminished are never used. Alterations are always enclosed in parentheses, additions never are. An up or down immediately after the chord root affects the 3rd, 6th, 7th, and/or the 11th (every other note of a stacked-3rds chord 6-1-3-5-7-9-11-13).
0-4-8 = C E G = C = C or C perfect
0-3-8 = C vE G = Cv = C down
0-5-8 = C ^E G = C^ = C up
0-4-7 = C E vG = C(v5) = C down-five
0-5-9 = C ^E ^G = C^(^5) = C up up-five
0-4-8-12 = C E G B = C7 = C seven
0-4-8-11 = C E G vB = C,v7 = C add down-seven
0-3-8-12 = C vE G B = Cv,7 = C down add seven
0-3-8-11 = C vE G vB = Cv7 = C down-seven
Here are the modes that create MOS scales in 14edo shown on horagrams from Scala, skipping multiples of 14:
3\14 MOS using 1L 1s, 1L 2s, 1L 3s, 4L 1s, 5L 4s5\14 MOS using 1L 1s, 2L 1s, 3L 2s, 3L 5s, 3L 8s
Beep[9]
14edo is also the largest edo whose patent val supportsbeep temperament, tempering out the chromatic semitone (21:20), and falling toward the "brittle" (fifths wider than in 9edo) end of that spectrum. beep is one of the simplest 7-limit temperaments, although rather inaccurate (the 7:5 is mapped onto 6\14, over 70 cents flat). Its otonal/major and utonal/minor tetrads are inversions of one another, which allows a greater variety of chord progressions (since different inversions of the same chord may have very different expressive qualities). Despite being so heavily tempered, the tetrads are still recognizable and aren't unpleasant-sounding as long as one uses the right timbres ("bell-like" or opaque-sounding ones probably work best). beep forms enneatonic modes which are melodically strong and are very similar to diatonic modes, only with two mediants and submediants instead of one. Beep[9] has similarities to mavila, slendro, and pelog scales as well.
Using beep[9], we could name the intervals of 14edo as follows. The 3, 5, 6, 8, 9, and 11-step intervals are all consonant, while 1, 2, 4, 7, 10, 12, and 13 steps are dissonant. There is no distinction between "perfect" (modulatory) and "imperfect" (major/minor) consonances here; there are enough chords here that root motion may occur by any consonant interval, and thus all six consonances are "perfect" intervals, rather than just two of them as in the diatonic system. As in the diatonic scale, the perfect intervals come in pairs separated by a major second, and with a characteristic dissonance between them; in beep[9] there are three such pairs rather than just one.
1\14: Minor 2nd9: functions similarly to the diatonic minor second, but is more incisive.
2\14: Major 2nd9: functions similarly to the diatonic major second, but is narrower and has a rather different quality.
3\14: Perfect 3rd9: the generator, standing in for 8:7, 7:6, and 6:5, but closest to 7:6.
4\14: Augmented 3rd9, diminished 4th9: A dissonance, falling in between two perfect consonances and hence analogous to the tritone.
5\14: Perfect 4th9: technically represents 5:4 but is quite a bit wider.
6\14: Perfect 5th9: represents 4:3 and 7:5, much closer to the former.
7\14: Augmented 5th9, diminished 6th9: The so-called "tritone" (but no longer made up of three whole tones). Like 4\14 and 10\14, this is a characteristic dissonance separating a pair of perfect consonances.
8\14: Perfect 6th9: represents 10:7 and 3:2, much closer to the latter.
9\14: Perfect 7th9: technically represents 8:5 but noticeably narrower.
10\14: Augmented 7th9, diminished 8th9: The third and final characteristic dissonance, analogous to the tritone.
11\14: Perfect 8th9: Represents 5:3, 12:7 and 7:4.
12\14: Minor 9th9: Analogous to the diatonic minor seventh, but sharper than usual.
13\14: Major 9th9: A high, incisive leading tone.
14\14: The 10th9 or "enneatonic decave" (i. e. the octave, 2:1).
