In [[17-limit]] [[Just Intonation]], 17/16 is the 17th overtone, octave reduced, and may be called the "large septendecimal semitone". Measuring about 105¢, it is close to the [[12edo]] semitone of 100¢, and thus 12edo can be said to approximate it closely. In a chord, it can function similarly to a jazz "minor ninth" -- for instance, 8:10:12:14:17 (although here the interval is 17/8, which is a little less harsh sounding than 17/16). In 17-limit JI, it is treated as the next basic consonance after 13 and 15.
In [[17-limit|17-limit]] [[Just_intonation|Just Intonation]], 17/16 is the 17th overtone, octave reduced, and may be called the "large septendecimal semitone". Measuring about 105¢, it is close to the [[12edo|12edo]] semitone of 100¢, and thus 12edo can be said to approximate it closely. In a chord, it can function similarly to a jazz "minor ninth" -- for instance, 8:10:12:14:17 (although here the interval is 17/8, which is a little less harsh sounding than 17/16). In 17-limit JI, it is treated as the next basic consonance after 13 and 15.
17/16 is one of two [[superparticular]] semitones in the 17-limit; the other is [[18_17|18/17]], which measures about 99¢. The difference between them is 289/288, about 6¢. If 12edo is treated as a harmonic system approximating 9 and 17, then 289/288 is tempered out.
17/16 is one of two [[superparticular|superparticular]] semitones in the 17-limit; the other is [[18/17|18/17]], which measures about 99¢. The difference between them is 289/288, about 6¢. If 12edo is treated as a harmonic system approximating 9 and 17, then 289/288 is tempered out.
See: [[Gallery of Just Intervals]]</pre></div>
See: [[Gallery_of_Just_Intervals|Gallery of Just Intervals]]
In <a class="wiki_link" href="/17-limit">17-limit</a> <a class="wiki_link" href="/Just%20Intonation">Just Intonation</a>, 17/16 is the 17th overtone, octave reduced, and may be called the &quot;large septendecimal semitone&quot;. Measuring about 105¢, it is close to the <a class="wiki_link" href="/12edo">12edo</a> semitone of 100¢, and thus 12edo can be said to approximate it closely. In a chord, it can function similarly to a jazz &quot;minor ninth&quot; -- for instance, 8:10:12:14:17 (although here the interval is 17/8, which is a little less harsh sounding than 17/16). In 17-limit JI, it is treated as the next basic consonance after 13 and 15.<br />
<br />
17/16 is one of two <a class="wiki_link" href="/superparticular">superparticular</a> semitones in the 17-limit; the other is <a class="wiki_link" href="/18_17">18/17</a>, which measures about 99¢. The difference between them is 289/288, about 6¢. If 12edo is treated as a harmonic system approximating 9 and 17, then 289/288 is tempered out.<br />
<br />
See: <a class="wiki_link" href="/Gallery%20of%20Just%20Intervals">Gallery of Just Intervals</a></body></html></pre></div>
In 17-limitJust Intonation, 17/16 is the 17th overtone, octave reduced, and may be called the "large septendecimal semitone". Measuring about 105¢, it is close to the 12edo semitone of 100¢, and thus 12edo can be said to approximate it closely. In a chord, it can function similarly to a jazz "minor ninth" -- for instance, 8:10:12:14:17 (although here the interval is 17/8, which is a little less harsh sounding than 17/16). In 17-limit JI, it is treated as the next basic consonance after 13 and 15.
17/16 is one of two superparticular semitones in the 17-limit; the other is 18/17, which measures about 99¢. The difference between them is 289/288, about 6¢. If 12edo is treated as a harmonic system approximating 9 and 17, then 289/288 is tempered out.