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{{Infobox ET}}
{{Infobox ET}}
{{Wikipedia|23 equal temperament}}
{{Wikipedia|23 equal temperament}}
{{EDO intro|23}}
{{ED intro}}
 
== Theory ==
== Theory ==
{{Harmonics in equal|23}}
23edo is significant in that it is the last edo that has no [[5L 2s|diatonic]] perfect fifths and not even [[5edo]] or [[7edo]] fifths. It is also the last edo that fails to approximate the [[3/1|3rd]], [[5/1|5th]], [[7/1|7th]], and [[11/1|11th]] [[harmonic]]s within 20 cents, which makes it well-suited for musicians seeking to explore harmonic territory that is unusual even for the average microtonalist. Oddly, despite the fact that it fails to approximate these harmonics, it approximates the intervals between them ([[5/3]], [[7/3]], [[11/3]], [[7/5]], [[11/5]], [[11/7]]) and combinations of them ([[15/8]], [[21/16]], [[33/32]], [[35/32]], [[55/32]], [[77/64]]) very well. In this sense, it can be thought of as every other step of [[46edo]]. The lowest harmonics well-approximated by 23edo are [[9/1|9]], [[13/1|13]], [[15/1|15]], [[17/1|17]], [[21/1|21]], [[23/1|23]], [[31/1|31]], [[33/1|33]] and [[35/1|35]].
 
=== Mapping ===
As with [[9edo]], [[16edo]], and [[25edo]], one way to treat 23edo is as a tuning of the [[mavila]] temperament, tempering out the "comma" of [[135/128]] and equating three acute [[4/3]]'s with 5/1 (related to the Armodue system). This means mapping "[[3/2]]" to 13 degrees of 23, and results in a 7-note [[2L 5s|antidiatonic]] scale of 3–3–4–3–3–3–4 (in steps of 23edo), which extends to a 9-note [[7L 2s|superdiatonic]] scale (3–3–3–1–3–3–3–3–1). One can notate 23edo using the [[Armodue]] system, but just like notating 17edo with familiar diatonic notation, flats will be lower in pitch than enharmonic sharps, because in 23edo, the "Armodue 6th" is sharper than it is in 16edo, just like the diatonic 5th in 17edo is sharper than in 12edo. In other words, 2b is lower in pitch than 1#, just like how in 17edo Eb is lower than D#.
 
However, one can also map 3/2 to 14 degrees of 23edo without significantly increasing the error, taking us to a [[7-limit]] temperament where two broad 3/2's equals 7/3, meaning 28/27 is tempered out, and six 4/3's octave-reduced equals 5/4, meaning 4096/3645 is tempered out. Both of these are very large commas, so this is not at all an accurate temperament, but it is related to [[13edo]] and [[18edo]] and produces [[mos scale]]s of 5 and 8 notes: 5–5–4–5–4 ([[3L 2s|antipentic]]) and 4–1–4–1–4–4–1–4 (the "quartertone" version of the [[Easley Blackwood Jr.|Blackwood]]/[[Paul Rapoport|Rapoport]]/[[Erv Wilson|Wilson]] 13edo "subminor" scale). Alternatively we can treat this temperament as a 2.9.21 subgroup, and instead of calling 9 degrees of 23edo a sub-"4/3", we can call it 21/16. Here three 21/16's gets us to 9/4, meaning 1029/1024 is tempered out. This allows us to treat a triad of 0–4–9 degrees of 23edo as an approximation to 16:18:21, and 0–5–9 as 1/(16:18:21); both of these triads are abundant in the 8-note mos scale.


23edo has good approximations for [[5/3]], [[11/7]], 13 and 17, among many others, allowing it to represent the 2.5/3.11/7.13.17 [[just intonation subgroup]]. If to this subgroup is added the commas of no-19's [[23-limit]] [[46edo]], the larger no-19's 23-limit [[k*N subgroups|2*23 subgroup]] 2.9.15.21.33.13.17.23 is obtained. This is the largest subgroup on which 23 has the same tuning and commas as does no-19's 23-limit 46edo, and may be regarded as a basis for analyzing the harmony of 23edo so far, as approximations to just intervals goes. If one dares to take advantage of this harmony by using 23edo as a period, you get [[icositritonic]], a [[23rd-octave temperaments|23rd-octave temperament]], so that the harmony of 23edo is adequately explained by what harmonies you can achieve using only periods and zero generators.
23edo has good approximations for [[5/3]], [[11/7]], 13 and 17, among many others, allowing it to represent the 2.5/3.11/7.13.17 [[just intonation subgroup]]. If to this subgroup is added the commas of no-19's [[23-limit]] [[46edo]], the larger no-19's 23-limit [[k*N subgroups|2*23 subgroup]] 2.9.15.21.33.13.17.23 is obtained. This is the largest subgroup on which 23 has the same tuning and commas as does no-19's 23-limit 46edo, and may be regarded as a basis for analyzing the harmony of 23edo so far, as approximations to just intervals goes. If one dares to take advantage of this harmony by using 23edo as a period, you get [[icositritonic]], a [[23rd-octave temperaments|23rd-octave temperament]], so that the harmony of 23edo is adequately explained by what harmonies you can achieve using only periods and zero generators.


23edo is the 9th [[prime edo]], following [[19edo]] and coming before [[29edo]].
See ''[[Harmony of 23edo]]'' for more details.  


23edo was proposed by ethnomusicologist [[Wikipedia: Erich von Hornbostel|Erich von Hornbostel]] as the result of continuing a circle of "blown" fifths of ~678-cent fifths that (he argued) resulted from "overblowing" a bamboo pipe.
=== Odd harmonics ===
{{Harmonics in equal|23}}


23edo is also significant in that it is the largest edo that fails to approximate the 3rd, 5th, 7th, and 11th harmonics within 20 cents, which makes it well-suited for musicians seeking to explore harmonic territory that is unusual even for the average microtonalist. Oddly, despite the fact that it fails to approximate these harmonics, it approximates the intervals between them ([[5/3]], [[7/3]], [[11/3]], [[7/5]], [[11/5]], [[11/7]]) and combinations of them ([[15/8]], [[21/16]], [[33/32]], [[35/32]], [[55/32]], [[77/64]]) very well. The lowest harmonics well-approximated by 23edo are 9, 13, 15, 17, 21, 23, 31, 33 and 35. See ''[[Harmony of 23edo]]'' for more details. Also note that some approximations can be improved by [[23edo and octave stretching|octave stretching]].
=== Subsets and supersets ===
23edo is the 9th [[prime edo]], following [[19edo]] and coming before [[29edo]], so it does not contain any nontrivial subset edos, though it contains [[23ed4]]. 46edo, which doubles it, considerably improves most of its approximations of lower harmonics.  


As with [[9edo]], [[16edo]], and [[25edo]], one way to treat 23edo is as a tuning of the [[pelogic]] temperament, tempering out the "comma" of [[135/128]] and equating three acute [[4/3]]'s with 5/1 (related to the Armodue system). This means mapping "[[3/2]]" to 13 degrees of 23, and results in a 7 notes [[2L 5s|antidiatonic scale]] of 3 3 4 3 3 3 4 (in steps of 23edo), which extends to 9 notes [[7L 2s|superdiatonic scale]] (3 3 3 1 3 3 3 3 1). One can notate 23edo using the [[Armodue]] system, but just like notating 17edo with familiar diatonic notation, flats will be lower in pitch than enharmonic sharps, because in 23edo, the "Armodue 6th" is sharper than it is in 16edo, just like the diatonic 5th in 17edo is sharper than in 12edo. In other words, 2b is lower in pitch than 1#, just like how in 17edo Eb is lower than D#.
=== Miscellany ===
23edo was proposed by ethnomusicologist {{w|Erich von Hornbostel}} as the result of continuing a circle of "blown" fifths of ~678-cent fifths that (he argued) resulted from "overblowing" a bamboo pipe.


However, one can also map 3/2 to 14 degrees of 23edo without significantly increasing the error, taking us to a [[7-limit]] temperament where two 'broad 3/2's equals 7/3, meaning 28/27 is tempered out, and six 4/3's octave-reduced equals 5/4, meaning 4096/3645 is tempered out. Both of these are very large commas, so this is not at all an accurate temperament, but it is related to [[13edo]] and [[18edo]] and produces [[mos scales]] of 5 and 8 notes: 5 5 4 5 4 (the [[3L 2s|"anti-pentatonic"]]) and 4 1 4 1 4 4 1 4 (the "quarter-tone" version of the Blackwood/[[Wikipedia: Paul Rapoport %28music critic%29|Rapoport]]/Wilson 13edo "subminor" scale). Alternatively we can treat this temperament as a 2.9.21 subgroup, and instead of calling 9 degrees of 23edo a Sub-"4/3", we can call it 21/16. Here three 21/16's gets us to 9/4, meaning 1029/1024 is tempered out. This allows us to treat a triad of 0-4-9 degrees of 23edo as an approximation to 16:18:21, and 0-5-9 as 1/(16:18:21); both of these triads are abundant in the 8-note mos scale.
== Intervals ==
 
{| class="wikitable center-1 right-2 left-10"
== Selected just intervals ==
|-
{{Q-odd-limit intervals|23}}
! [[Degree]]
! [[Cent]]s
! Approximate Ratios*
! Comments
|-
| 0
| 0.0
| [[1/1]]
|
|-
| 1
| 52.2
| [[33/32]], [[34/33]]
|
|-
| 2
| 104.3
| [[17/16]], [[16/15]], [[18/17]]
| Less than 1 cent off [[17/16]]
|-
| 3
| 156.5
| [[11/10]], [[12/11]], [[35/32]]
|
|-
| 4
| 208.7
| [[9/8]], [[44/39]]
|
|-
| 5
| 260.9
| [[7/6]], [[15/13]], [[29/25]]
|
|-
| 6
| 313.0
| [[6/5]]
| Much better 6/5 than 12-edo
|-
| 7
| 365.2
| [[16/13]], [[21/17]], [[26/21]]
|
|-
| 8
| 417.4
| [[14/11]], [[33/26]]
| Practically just 14/11
|-
| 9
| 469.6
| [[21/16]], [[17/13]]
|
|-
| 10
| 521.7
| [[23/17]], [[27/20]], [[88/65]]
|
|-
| 11
| 573.9
| [[7/5]], [[32/23]], [[46/33]]
|
|-
| 12
| 626.1
| [[10/7]], [[23/16]], [[33/23]]
|
|-
| 13
| 678.3
| [[34/23]], [[40/27]], [[65/44]]
| Great Hornbostel generator
|-
| 14
| 730.4
| [[32/21]], [[26/17]]
|
|-
| 15
| 782.6
| [[11/7]], [[52/33]]
| Practically just [[11/7]]
|-
| 16
| 834.8
| [[13/8]], [[34/21]], [[21/13]]
|
|-
| 17
| 887.0
| [[5/3]]
| Much better [[5/3]] than 12-edo
|-
| 18
| 939.1
| [[12/7]], [[26/15]], [[50/29]]
|
|-
| 19
| 991.3
| [[16/9]], [[39/22]]
|
|-
| 20
| 1043.5
| [[11/6]], [[20/11]], [[64/35]]
|
|-
| 21
| 1095.7
| [[15/8]], [[17/9]], [[32/17]]
| Less than 1 cent off 32/17
|-
| 22
| 1147.8
| [[33/17]], [[64/33]]
|
|-
| 23
| 1200.0
| [[2/1]]
|
|}
*Based on treating 23edo as a 2.9.15.21.33.13.17 subgroup temperament; other approaches are possible.


== Notation ==
== Notation ==
===Conventional notation ===
===Conventional notation ===
23edo can be notated with conventional notation, including the staff, note names, relative notation, etc. in two ways. The first preserves the <u>melodic</u> meaning of sharp/flat, major/minor and aug/dim, in that sharp is higher pitched than flat, and major/aug is wider than minor/dim. The disadvantage to this approach is that conventional interval arithmetic no longer works. e.g. M2 + M2 isn't M3, and D + M2 is not E. Chord names are different because C - E - G is not P1 - M3 - P5.
{{Mavila}}
 
The second approach preserves the <u>harmonic</u> meaning of sharp/flat, major/minor and aug/dim, in that the former is always further fifthwards on the chain of fifths than the latter. Sharp is lower in pitch than flat, and major/aug is narrower than minor/dim. While this approach may seem bizarre at first, interval arithmetic and chord names work as usual. Furthermore, conventional 12edo music can be directly translated to 23edo "on the fly".


===Sagittal notation===
===Sagittal notation===
Line 36: Line 168:
This notation uses the same sagittal sequence as EDOs [[28edo#Sagittal notation|28]] and [[33edo#Sagittal notation|33]].
This notation uses the same sagittal sequence as EDOs [[28edo#Sagittal notation|28]] and [[33edo#Sagittal notation|33]].


<imagemap>
{{Sagittal chart|}}
File:23-EDO_Sagittal.svg
desc none
rect 80 0 300 50 [[Sagittal_notation]]
rect 367 0 527 80 [https://sagittal.org#periodic-table Periodic table of EDOs with sagittal notation]
rect 20 80 367 106 [[Fractional_3-limit_notation#Bad-fifths_limma-fraction_notation | limma-fraction notation]]
default [[File:23-EDO_Sagittal.svg]]
</imagemap>


====Second-best fifth notation====
====Second-best fifth notation====
This notation uses the same sagittal sequence as EDOs [[30edo#Sagittal notation|30]], [[37edo#Sagittal notation|37]], and [[44edo#Sagittal notation|44]].
This notation uses the same sagittal sequence as EDOs [[30edo#Sagittal notation|30]], [[37edo#Sagittal notation|37]], and [[44edo#Sagittal notation|44]].


<imagemap>
{{Sagittal chart||23b}}
File:23b_Sagittal.svg
desc none
rect 80 0 300 50 [[Sagittal_notation]]
rect 375 0 535 80 [https://sagittal.org#periodic-table Periodic table of EDOs with sagittal notation]
rect 20 80 375 106 [[Fractional_3-limit_notation#Bad-fifths_apotome-fraction_notation | apotome-fraction notation]]
default [[File:23b_Sagittal.svg]]
</imagemap>


=== Armodue notation  ===
=== Armodue notation  ===
Armodue notation is a nonatonic notation that uses the numbers 1-9 as note names.
Armodue notation is a nonatonic notation that uses the numbers 1-9 as note names.


{| class="wikitable center-all right-1 right-3 left-10"
{| class="wikitable center-all right-2"
|-
|-
! [[Degree]]
! #
! [[Cent]]s
! [[Cent]]s
! Approximate <br> Ratios <ref>Based on treating 23-EDO as a 2.9.15.21.33.13.17 subgroup temperament; other approaches are possible.</ref>
! colspan="2" | Major wider <br> than minor
! colspan="2" | Major wider <br> than minor
! colspan="2" | Major narrower <br> than minor
! colspan="2" | Major narrower <br> than minor
! Armodue <br> Notation
! Armodue <br> Notation
! Notes
|-
|-
| 0
| 0
| 0.000
| 0.0
| 1/1
| P1 || D
| P1 || D
| P1 || D
| P1 || D
| 1
| 1
|
|-
|-
| 1
| 1
| 52.174
| 52.2
| 33/32, 34/33
| A1 || D#
| A1 || D#
| d1 || Db
| d1 || Db
| 2b
| 2b
|
|-
|-
| 2
| 2
| 104.348
| 104.3
| 17/16, 16/15, 18/17
| d2 || Eb
| d2 || Eb
| A2 || E#
| A2 || E#
| 1#
| 1#
| Less than 1 cent off [[17/16]]
|-
|-
| 3
| 3
| 156.522
| 156.5
| 11/10, 12/11, 35/32
| m2 || E
| m2 || E
| M2 || E
| M2 || E
| 2
| 2
|
|-
|-
| 4
| 4
| 208.696
| 208.7
| 9/8, 44/39
| M2 || E#
| M2 || E#
| m2 || Eb
| m2 || Eb
| 3b
| 3b
|
|-
|-
| 5
| 5
| 260.870
| 260.9
| 7/6, 15/13, 29/25
| A2, d3 || Ex, Fbb
| A2, d3 || Ex, Fbb
| d2, A3 || Ebb, Fx
| d2, A3 || Ebb, Fx
| 2#
| 2#
|
|-
|-
| 6
| 6
| 313.043
| 313.0
| 6/5
| m3 || Fb
| m3 || Fb
| M3 || F#
| M3 || F#
| 3
| 3
| Much better [[6/5]] than 12-edo
|-
|-
| 7
| 7
| 365.217
| 365.2
| 16/13, 21/17, 26/21
| M3 || F
| M3 || F
| m3 || F
| m3 || F
| 4b
| 4b
|
|-
|-
| 8
| 8
| 417.391
| 417.4
| 14/11, 33/26
| A3 || F#
| A3 || F#
| d3 || Fb
| d3 || Fb
| 3#
| 3#
| Practically just [[14/11]]
|-
|-
| 9
| 9
| 469.565
| 469.6
| 21/16, 17/13
| d4 || Gb
| d4 || Gb
| A4 || G#
| A4 || G#
| 4
| 4
|
|-
|-
| 10
| 10
| 521.739
| 521.7
| 23/17, 88/65, 256/189
| P4 || G
| P4 || G
| P4 || G
| P4 || G
| 5
| 5
|
|-
|-
| 11
| 11
| 573.913
| 573.9
| 7/5, 32/23, 46/33
| A4 || G#
| A4 || G#
| d4 || Gb
| d4 || Gb
| 6b
| 6b
|
|-
|-
| 12
| 12
| 626.087
| 626.1
| 10/7, 23/16, 33/23
| d5 || Ab
| d5 || Ab
| A5 || A#
| A5 || A#
| 5#
| 5#
|
|-
|-
| 13
| 13
| 678.261
| 678.3
| 34/23, 65/44, 189/128
| P5 || A
| P5 || A
| P5 || A
| P5 || A
| 6
| 6
| Great Hornbostel generator
|-
|-
| 14
| 14
| 730.435
| 730.4
| 32/21, 26/17
| A5 || A#
| A5 || A#
| d5 || Ab
| d5 || Ab
| 7b
| 7b
|
|-
|-
| 15
| 15
| 782.609
| 782.6
| 11/7, 52/33
| d6 || Bb
| d6 || Bb
| A6 || B#
| A6 || B#
| 6#
| 6#
| Practically just [[11/7]]
|-
|-
| 16
| 16
| 834.783
| 834.8
| 13/8, 34/21, 21/13
| m6 || B
| m6 || B
| M6 || B
| M6 || B
| 7
| 7
|
|-
|-
| 17
| 17
| 886.957
| 887.0
| 5/3
| M6 || B#
| M6 || B#
| m6 || Bb
| m6 || Bb
| 8b
| 8b
| Much better [[5/3]] than 12-edo
|-
|-
| 18
| 18
| 939.130
| 939.1
| 12/7, 26/15, 50/29
| A6, d7 || Bx, Cbb
| A6, d7 || Bx, Cbb
| d6, A7 || Bbb, Cx
| d6, A7 || Bbb, Cx
| 7#
| 7#
|
|-
|-
| 19
| 19
| 991.304
| 991.3
| 16/9, 39/22
| m7 || Cb
| m7 || Cb
| M7 || C#
| M7 || C#
| 8
| 8
|
|-
|-
| 20
| 20
| 1043.478
| 1043.5
| 11/6, 20/11, 64/35
| M7 || C
| M7 || C
| m7 || C
| m7 || C
| 9b
| 9b
|
|-
|-
| 21
| 21
| 1095.652
| 1095.7
| 15/8, 17/9, 32/17
| A7 || C#
| A7 || C#
| d7 || Cb
| d7 || Cb
| 8#
| 8#
| Less than 1 cent off [[32/17]]
|-
|-
| 22
| 22
| 1147.826
| 1147.8
| 33/17, 64/33
| d8 || Db
| d8 || Db
| A8 || D#
| A8 || D#
| 9
| 9
|
|-
|-
| 23
| 23
| 1200.000
| 1200.0
| 2/1
| P8 || D
| P8 || D
| P8 || D
| P8 || D
| 1
| 1
|
|}
|}
<references/>


[[File:Ciclo_Icositrifonía.png|alt=Ciclo Icositrifonía.png|491x490px|link=Harmony_of_23edo]]
[[File:Ciclo_Icositrifonía.png|alt=Ciclo Icositrifonía.png|491x490px|link=Harmony_of_23edo]]


== Approximation to irrational intervals ==
== Approximation to irrational intervals ==
=== Acoustic π and ϕ ===
23edo has good approximations of [[acoustic phi]] on 16\23, and [[pi]] on 38\23. Not until [[72edo|72]] do we find a better edo in terms of absolute error, and not until [[749edo|749]] do we find one in terms of relative error.
23edo has a very close approximation of [[11/7#Proximity with π/2|acoustic π/2]] on 15\23 and a very close approximation of [[acoustic phi]] on the step just above (16\23).


{| class="wikitable center-all"
{| class="wikitable center-all"
Line 288: Line 352:
|}
|}


Not until [[72edo|72]] do we find a better edo in terms of absolute error, and not until [[749edo|749]] do we find one in terms of relative error.
== Approximation to JI ==
=== 15-odd-limit interval mappings ===
{{Q-odd-limit intervals|23}}
{{Q-odd-limit intervals|22.9|apx=val|header=none|tag=none|title=15-odd-limit intervals by 23de val mapping}}


== Regular temperament properties ==
== Regular temperament properties ==
=== Uniform maps ===
=== Uniform maps ===
{{Uniform map|13|22.5|23.5}}
{{Uniform map|edo=23}}


=== Commas ===
=== Commas ===
23edo [[tempers out]] the following [[comma]]s. (Note: This assumes the [[val]] {{val| 23 36 53 65 80 85 }}.) Also note the discussion above, where there are some commas mentioned that are not in the standard comma list (e.g., 28/27).
23et [[tempering out|tempers out]] the following [[comma]]s. This assumes the [[val]] {{val| 23 36 53 65 80 85 }}. Also note the discussion above, where there are some commas mentioned that are not in the standard comma list (e.g., 28/27).


{| class="commatable wikitable center-all left-3 right-4 left-6"
{| class="commatable wikitable center-all left-3 right-4 left-6"
Line 362: Line 429:
| Werckisma
| Werckisma
|}
|}
== Octave stretch or compression ==
{{main|23edo and octave stretching}}
23edo is not often taken seriously as a tuning except by those interested in extreme [[xenharmony]]. Its fifths are significantly flat, and is neighbors [[22edo]] and [[24edo]] generally get more attention.
However, when using a slightly [[stretched tuning|stretched octave]] of around 1206 [[cents]], 23edo looks much better, and it approximates the [[perfect fifth]] (and various other [[interval]]s involving the 5th, 7th, 11th, and 13th [[harmonic]]s) to within 18 cents or so. If we can tolerate errors around this size in [[12edo]], we can probably tolerate them in stretched-23 as well.
Stretched-23edo is one of the best tunings to use for exploring the [[antidiatonic]] scale since its fifth is more [[consonant]] and less "[[Wolf interval|wolfish]]" than fifths in other [[pelogic family]] temperaments.


== Scales ==
== Scales ==
Line 482: Line 558:
|-
|-
| 2 1 1 1 2 1 1 2 1 1 1 2 1 1 2 1 1 1
| 2 1 1 1 2 1 1 2 1 1 1 2 1 1 2 1 1 1
| Pathological 5L 13s (ateamtonic[18])
| [[5L 13s]]
|-
|-
| 2 1 1 1 1 2 1 1 1 1 2 1 1 1 1 2 1 1 1
| 2 1 1 1 1 2 1 1 1 1 2 1 1 1 1 2 1 1 1
| Pathological [[4L 15s|<nowiki>4L 15s (mynoid[19]]</nowiki>]]
| [[4L 15s]]
|}
|}
While [[35edo]] is the largest edo without a nondegenerate [[5L 2s]] scale, it has both degenerate cases (the equalised 7edo and the collapsed 5edo).
23edo is the largest edo without any form of 5L 2s, including the degenerate cases.


=== Kosmorsky's Sephiroth modes ===
=== Kosmorsky's Sephiroth modes ===
Line 546: Line 626:


2 5 6 6 4 - Volcanic (approximated from [[16afdo]])
2 5 6 6 4 - Volcanic (approximated from [[16afdo]])
''More listed in: [[User:BudjarnLambeth/Quasipelog theory#Scales]]''


== Instruments ==
== Instruments ==
Line 591: Line 673:
[[File:Libro_Icositrifónico.PNG|alt=Libro_Icositrifónico.PNG|302x365px|Libro_Icositrifónico.PNG|thumb|''Icosikaitriphonic Scales for Guitar'' cover art.]]
[[File:Libro_Icositrifónico.PNG|alt=Libro_Icositrifónico.PNG|302x365px|Libro_Icositrifónico.PNG|thumb|''Icosikaitriphonic Scales for Guitar'' cover art.]]
* [[Sword, Ron]]. ''[http://www.metatonalmusic.com/books.html Icosikaitriphonic Scales for Guitar: A Repository of Theory, Reference Materials, and Scale Charts for Xentonal Families]''. 2010.
* [[Sword, Ron]]. ''[http://www.metatonalmusic.com/books.html Icosikaitriphonic Scales for Guitar: A Repository of Theory, Reference Materials, and Scale Charts for Xentonal Families]''. 2010.
* [[343edo#Scales|Lucite23]] - [[Gordon Wery]]'s [[well temperament]] of 23edo in [[343edo]]


[[Category:23-tone scales]]
[[Category:23-tone scales]]
[[Category:Guitar]]
[[Category:Guitar]]
[[Category:Keyboard]]
[[Category:Mavila]]
[[Category:Mavila]]
[[Category:Modes]]
[[Category:Modes]]
[[Category:Twentuning]]
[[Category:Twentuning]]
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