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== Theory ==
== Theory ==
In general, 16edo tends to better approximate the differences between odd [[harmonic]]s than odd harmonics themselves, though it has a [[5/1|5th harmonic]] which is only 11 cents flat, and a [[7/1|7th harmonic]] which is only 6 cents sharp. Most low harmonics are tuned very flat, but some such as [[21/16|21]]:[[11/8|22]]:[[23/16|23]]:[[3/2|24]]:[[25/16|25]]:[[13/8|26]] are well in tune with each other.  
The [[3/2|perfect fifth]] of 16edo is 27 cents flat of 3/2, flatter than that of [[7edo]] so that it generates an [[2L 5s|antidiatonic]] instead of [[5L 2s|diatonic]] scale, but sharper than [[9edo]]'s fifth, to which it similarly retains the characteristic of being a fifth while being distinctly flat of 3/2. If the fifth is interpreted as 3/2, this befits a tuning of [[mavila]], the [[5-limit]] [[regular temperament|temperament]] that [[tempering out|tempers out]] [[135/128]], such that a stack of four fifths gives a [[6/5]] minor third instead of the familiar [[5/4]] major third as in [[meantone]]. A more accurate restriction is [[mabilic]], which discards the inaccurate mapping of 3 while keeping the fifth as a generator.  


The [[3/2|perfect fifth]] of 16edo, so to speak, is 27 cents flat of just, flatter than that of [[7edo]] so that it generates an [[2L 5s|antidiatonic]] instead of [[5L 2s|diatonic]] scale. This befits a tuning of [[mavila]], the [[5-limit]] [[regular temperament|temperament]] that [[tempering out|tempers out]] [[135/128]], such that a stack of four fifths gives a [[6/5]] minor third instead of the familiar [[5/4]] major third as in [[meantone]].  
This leads to some confusion in regards to interval names, as what would be major in diatonic now sounds minor; there are several ways to handle this (see in [[#Intervals]]).  


Four steps of 16edo gives the 300{{c}} minor third interval shared by [[12edo]] (and other multiples of [[4edo]]), tempering out 648/625, the [[diminished comma]], and thus the familiar [[diminished seventh chord]] may be built on any scale step with four unique tetrads up to [[octave equivalence]]. The minor third is of course not distinguished from the septimal subminor third, [[7/6]], so [[36/35]] and moreover [[50/49]] are tempered out, making 16edo a possible tuning for [[diminished (temperament)|septimal diminished]].  
In general, 16edo tends to better approximate the differences between odd [[harmonic]]s than odd harmonics themselves, though it has a [[5/1|5th harmonic]] which is only 11 cents flat, and a [[7/1|7th harmonic]] which is only 6 cents sharp. As such, 16edo can be seen as an approach to tuning that takes advantage of the idea that simpler ratios can be functionally approximated with greater error (i.e. a 3/2 that's 25 cents flat is still recognizable, but a 5/4 that's 25 cents flat loses much of its identity and a 7/4 that's 25 cents flat is completely unrecognizable). In essence, 16edo's 3, 5, and 7 are backwards from 12edo's, with 7 being nearly perfect, 5 being decent, and 3 being distinctly out-of-tune.
 
In terms of higher primes, both 11 and 13 are approximated very flat, with the [[11/8]] not distinguished from [[4/3]], and [[13/8]] not distinguished from [[8/5]]. 16edo represents the no-9 no-15 [[25-odd-limit]] [[consistent]]ly, however.
 
Four steps of 16edo gives the 300{{c}} minor third interval shared by [[12edo]] (and other multiples of [[4edo]]), which approximates [[6/5]], and thus tempers out 648/625, the [[diminished comma]]. This means that the familiar [[diminished seventh chord]] may be built on any scale step with four unique tetrads up to [[octave equivalence]]. The minor third is of course not distinguished from the septimal subminor third, [[7/6]], so [[36/35]] and moreover [[50/49]] are tempered out, making 16edo a possible tuning for [[diminished (temperament)|septimal diminished]]. Another possible interpretation for this interval is the 19th harmonic, [[19/16]].
 
16edo shares several similarities with 15edo. They both share mappings of [[8/7]], [[5/4]], and [[3/2]] in terms of edosteps – in fact, they are both [[valentine]] tunings, and thus [[slendric]] tunings. 16edo and 15edo also both have three types of seconds and two types of thirds (not including arto/tendo thirds). However, 15edo's fifth is sharp while 16's is flat.
 
16edo works as a tuning for [[extraclassical tonality]], due to its ultramajor third of 450 cents.  


=== Odd harmonics ===
=== Odd harmonics ===
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=== Composition theory ===
=== Composition theory ===
* [[User:VectorGraphics/16edo theory|Vector's approach]]
* [[User:VectorGraphics/16edo theory|Vector's approach]]
* [[Armodue harmony]]


{{Todo|inline=1| expand }}
{{Todo|inline=1| expand }}
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{{Mavila}}  
{{Mavila}}  


Alternatively, one can use Armodue nine-nominal notation; see [[Armodue theory]]
Alternatively, one can use Armodue nine-nominal notation.


{| class="wikitable center-all"
{| class="wikitable center-all"
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[[:File:16ed2-001.svg|16ed2-001.svg]]
[[:File:16ed2-001.svg|16ed2-001.svg]]
=== Zeta peak index ===
{{ZPI
| zpi = 51
| steps = 15.9443732426877
| step size = 75.2616601314409
| tempered height = 4.191572
| pure height = 3.476281
| integral = 0.812082
| gap = 13.070433
| octave = 1204.18656210305
| consistent = 6
| distinct = 6
}}


== Octave theory ==
== Octave theory ==
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[[File:16-EDO-PIano-Diagram.png|alt=16-EDO-PIano-Diagram.png|748x293px|16-EDO-PIano-Diagram.png]]
[[File:16-EDO-PIano-Diagram.png|alt=16-EDO-PIano-Diagram.png|748x293px|16-EDO-PIano-Diagram.png]]


'''Un-annotated diagram'''
'''Interleaved edos'''


Please explain this image. {{todo|annotate}}
A visualization of 16edo being two interleaved copies of [[8edo]] and four interleaved copies of [[4edo]].


[[File:16edo_wheel_01.png|alt=16edo wheel 01.png|325x325px|16edo wheel 01.png]]
[[File:16edo_wheel_01.png|alt=16edo wheel 01.png|325x325px|16edo wheel 01.png]]


'''Lumatone mapping'''
=== Lumatone mapping ===


See: [[Lumatone mapping for 16edo]]
See: [[Lumatone mapping for 16edo]]
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