16edo: Difference between revisions
Wikispaces>k9assassin **Imported revision 599093816 - Original comment: ** |
Wikispaces>TallKite **Imported revision 599358390 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User: | : This revision was by author [[User:TallKite|TallKite]] and made on <tt>2016-11-14 02:36:35 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>599358390</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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=Intervals= | =Intervals= | ||
|| Degree || Cents (coarse, fine) | || Degree || Cents | ||
(coarse, fine) | |||
DMS ||= Approximate | DMS ||= Approximate | ||
Ratios* || Interval Names | Ratios* || Interval Names | ||
Just || Interval Names | Just || Interval Names | ||
Simplified || | Simplified || Interval names, | ||
|| 0 || 0 ||= 1/1 || Unison || Unison || | # > b, major > minor || | ||
|| 0 || 0 ||= 1/1 || Unison || Unison || || | |||
|| 1 || 75, 90 | || 1 || 75, 90 | ||
22º30' ||= 28/27, 27/26 || Subminor 2nd || Minor Second || | 22º30' ||= 28/27, 27/26 || Subminor 2nd || Minor Second || aug 1, dim 2nd || | ||
|| 2 || 150, 180 | || 2 || 150, 180 | ||
45° ||= 12/11, 35/32 || Neutral 2nd || Major Second || | 45° ||= 12/11, 35/32 || Neutral 2nd || Major Second || min 2nd || | ||
|| 3 || 225, 270 | || 3 || 225, 270 | ||
67°30' ||= 8/7 || Supermajor 2nd, | 67°30' ||= 8/7 || Supermajor 2nd, | ||
Septimal Whole-Tone || Perfect Second || | Septimal Whole-Tone || Perfect Second || maj 2nd || | ||
|| 4 || 300, 360 | || 4 || 300, 360 | ||
90° ||= 19/16, 32/27 || Minor 3rd || Minor Third || | 90° ||= 19/16, 32/27 || Minor 3rd || Minor Third || min 3rd || | ||
|| 5 || 375, 450 | || 5 || 375, 450 | ||
112°30' ||= 5/4, 26/21 || Major 3rd || Major Third || | 112°30' ||= 5/4, 26/21 || Major 3rd || Major Third || maj 3rd || | ||
|| 6 || 450, 540 | || 6 || 450, 540 | ||
135° ||= 13/10, 35/27 || Sub-4th, | 135° ||= 13/10, 35/27 || Sub-4th, | ||
Supermajor 3rd || Minor Fourth || | Supermajor 3rd || Minor Fourth || aug 3rd, dim 4th || | ||
|| 7 || 525, 630 | || 7 || 525, 630 | ||
157°30' ||= 27/20, 52/35, 256/189 || Wide 4th || Major Fourth || | 157°30' ||= 27/20, 52/35, 256/189 || Wide 4th || Major Fourth || perfect 4th || | ||
|| 8 || 600, 720 | || 8 || 600, 720 | ||
180° ||= 7/5, 10/7 || Tritone || Augmented fourth/ | 180° ||= 7/5, 10/7 || Tritone || Augmented fourth/ | ||
Diminished fifth || | Diminished fifth || aug 4th, dim 5th || | ||
|| 9 || 675, 810 | || 9 || 675, 810 | ||
202°30' ||= 40/27, 35/26, 189/128 || Narrow 5th || Minor Fifth || | 202°30' ||= 40/27, 35/26, 189/128 || Narrow 5th || Minor Fifth || perfect 5th || | ||
|| 10 || 750, 900 | || 10 || 750, 900 | ||
225° ||= 20/13, 54/35 || Super-5th, | 225° ||= 20/13, 54/35 || Super-5th, | ||
Subminor 6th || Major Fifth || | Subminor 6th || Major Fifth || aug 5th, dim 6th || | ||
|| 11 || 825, 990 | || 11 || 825, 990 | ||
247°30' ||= 8/5, 21/13 || Minor 6th || Minor Sixth || | 247°30' ||= 8/5, 21/13 || Minor 6th || Minor Sixth || min 6th || | ||
|| 12 || 900, 1080 | || 12 || 900, 1080 | ||
270° ||= 27/16, 32/19 || Major 6th || Major Sixth || | 270° ||= 27/16, 32/19 || Major 6th || Major Sixth || maj 6th || | ||
|| 13 || 975, 1170 | || 13 || 975, 1170 | ||
292°30' ||= 7/4 || Subminor 7th, | 292°30' ||= 7/4 || Subminor 7th, | ||
Septimal Minor 7th || Perfect Seventh || | Septimal Minor 7th || Perfect Seventh || min 7th || | ||
|| 14 || 1050, 1260 | || 14 || 1050, 1260 | ||
315° ||= 11/6, 64/35 || Neutral 7th || Minor Seventh || | 315° ||= 11/6, 64/35 || Neutral 7th || Minor Seventh || maj 7th || | ||
|| 15 || 1125, 1350 | || 15 || 1125, 1350 | ||
337°30' ||= 27/14, 52/27 || Supermajor 7th || Major Seventh || | 337°30' ||= 27/14, 52/27 || Supermajor 7th || Major Seventh || aug 7th, dim 8ve || | ||
|| 16 || 1200, 1440 | || 16 || 1200, 1440 | ||
360° ||= 2/1 || Octave || Octave || | 360° ||= 2/1 || Octave || Octave || perfect 8ve || | ||
*based on treating 16-EDO as a 2.5.7.13.19.27 subgroup temperament; other approaches are possible. | *based on treating 16-EDO as a 2.5.7.13.19.27 subgroup temperament; other approaches are possible. | ||
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=Hexadecaphonic Notation= | =Hexadecaphonic Notation= | ||
16edo can be notated with conventional notation, including the staff, note names, chord names, relative notation, etc. in two ways. The first preserves the __melodic__ meaning of sharp/flat, major/minor and aug/dim, in that the former is higher pitched than the latter: | |||
D * E * * F * G * A * B * * C * D | |||
D - D#/Eb - E - E# - Fb - F - F#/Gb - G - G#/Ab - A - A#/Bb - B - B# - Cb - C - C#/Db - D | |||
P1 - A1/d2 - m2 - M2 - m3 - M3 - A3/d4 - P4 - A4/d5 - P5 - A5/d6 - m6 - M6 - m7 - M7 - A7/d8 - P8 | |||
||= D ||= ||= E ||= ||= ||= F ||= ||= G ||= ||= A ||= ||= B ||= ||= ||= C ||= ||= D || | |||
|| __D__ || D#/Eb || __E__ || _E#_ || _Fb_ || __F__ || F#/Gb || __G__ || G#/Ab || __A__ || A#/Bb || __B__ || _B#_ || _Cb_ || __C__ || C#/Db || __D__ || | |||
||= P1 ||= A1/d2 ||= m2 ||= M2 ||= m3 ||= M3 ||= A3/d4 ||= P4 ||= A4/d5 ||= P5 ||= A5/d6 ||= m6 ||= M6 ||= m7 ||= M7 ||= A7/d8 ||= P8 || | |||
The disadvantage to this approach is that conventional interval arithmetic no longer works. e.g. M2 + M2 isn't M3, and D + M2 isn't E. Chord names are different because C - E - G isn't P1 - M3 - P5. | |||
The second approach is to preserve the __harmonic__ meaning of sharp/flat, major/minor and aug/dim, in that the former is further fifthwards on the chain of fifths than the latter: | |||
|| || || || || || || || || || || || || || || || || || | |||
|| || || || || || || || || || || || || || || || || || | |||
|| || || || || || || || || || || || || || || || || || | |||
16-EDO notation can be easy utilizing Goldsmith's Circle of keys, nominals, and respective notation. The nominals for a 6 line staff can be switched for Wilson's Beta and Epsilon additions to A-G. Armodue of Italy uses a 4-line staff for 16-EDO. | 16-EDO notation can be easy utilizing Goldsmith's Circle of keys, nominals, and respective notation. The nominals for a 6 line staff can be switched for Wilson's Beta and Epsilon additions to A-G. Armodue of Italy uses a 4-line staff for 16-EDO. | ||
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<!-- ws:start:WikiTextHeadingRule:3:&lt;h1&gt; --><h1 id="toc0"><a name="Images"></a><!-- ws:end:WikiTextHeadingRule:3 -->Images</h1> | <!-- ws:start:WikiTextHeadingRule:3:&lt;h1&gt; --><h1 id="toc0"><a name="Images"></a><!-- ws:end:WikiTextHeadingRule:3 -->Images</h1> | ||
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<!-- ws:start:WikiTextLocalImageRule: | <!-- ws:start:WikiTextLocalImageRule:1029:&lt;img src=&quot;/file/view/16edo%20wheel%2001.png/516947132/325x325/16edo%20wheel%2001.png&quot; alt=&quot;&quot; title=&quot;&quot; style=&quot;height: 325px; width: 325px;&quot; /&gt; --><img src="/file/view/16edo%20wheel%2001.png/516947132/325x325/16edo%20wheel%2001.png" alt="16edo wheel 01.png" title="16edo wheel 01.png" style="height: 325px; width: 325px;" /><!-- ws:end:WikiTextLocalImageRule:1029 --><br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:5:&lt;h1&gt; --><h1 id="toc1"><a name="Intervals"></a><!-- ws:end:WikiTextHeadingRule:5 -->Intervals</h1> | <!-- ws:start:WikiTextHeadingRule:5:&lt;h1&gt; --><h1 id="toc1"><a name="Intervals"></a><!-- ws:end:WikiTextHeadingRule:5 -->Intervals</h1> | ||
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<td>Degree<br /> | <td>Degree<br /> | ||
</td> | </td> | ||
<td>Cents (coarse, fine)<br /> | <td>Cents <br /> | ||
(coarse, fine)<br /> | |||
DMS<br /> | DMS<br /> | ||
</td> | </td> | ||
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Simplified<br /> | Simplified<br /> | ||
</td> | </td> | ||
<td>Interval names,<br /> | |||
<ol><li>&gt; b, major &gt; minor</li></ol></td> | |||
</tr> | </tr> | ||
<tr> | <tr> | ||
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</td> | </td> | ||
<td>Unison<br /> | <td>Unison<br /> | ||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Minor Second<br /> | <td>Minor Second<br /> | ||
</td> | |||
<td>aug 1, dim 2nd<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Major Second<br /> | <td>Major Second<br /> | ||
</td> | |||
<td>min 2nd<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Perfect Second<br /> | <td>Perfect Second<br /> | ||
</td> | |||
<td>maj 2nd<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Minor Third<br /> | <td>Minor Third<br /> | ||
</td> | |||
<td>min 3rd<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Major Third<br /> | <td>Major Third<br /> | ||
</td> | |||
<td>maj 3rd<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Minor Fourth<br /> | <td>Minor Fourth<br /> | ||
</td> | |||
<td>aug 3rd, dim 4th<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Major Fourth<br /> | <td>Major Fourth<br /> | ||
</td> | |||
<td>perfect 4th<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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<td>Augmented fourth/<br /> | <td>Augmented fourth/<br /> | ||
Diminished fifth<br /> | Diminished fifth<br /> | ||
</td> | |||
<td>aug 4th, dim 5th<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Minor Fifth<br /> | <td>Minor Fifth<br /> | ||
</td> | |||
<td>perfect 5th<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Major Fifth<br /> | <td>Major Fifth<br /> | ||
</td> | |||
<td>aug 5th, dim 6th<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Minor Sixth<br /> | <td>Minor Sixth<br /> | ||
</td> | |||
<td>min 6th<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Major Sixth<br /> | <td>Major Sixth<br /> | ||
</td> | |||
<td>maj 6th<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Perfect Seventh<br /> | <td>Perfect Seventh<br /> | ||
</td> | |||
<td>min 7th<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Minor Seventh<br /> | <td>Minor Seventh<br /> | ||
</td> | |||
<td>maj 7th<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Major Seventh<br /> | <td>Major Seventh<br /> | ||
</td> | |||
<td>aug 7th, dim 8ve<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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</td> | </td> | ||
<td>Octave<br /> | <td>Octave<br /> | ||
</td> | |||
<td>perfect 8ve<br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
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<!-- ws:start:WikiTextHeadingRule:9:&lt;h1&gt; --><h1 id="toc3"><a name="Hexadecaphonic Octave Theory"></a><!-- ws:end:WikiTextHeadingRule:9 -->Hexadecaphonic Octave Theory</h1> | <!-- ws:start:WikiTextHeadingRule:9:&lt;h1&gt; --><h1 id="toc3"><a name="Hexadecaphonic Octave Theory"></a><!-- ws:end:WikiTextHeadingRule:9 -->Hexadecaphonic Octave Theory</h1> | ||
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<br /> | <br /> | ||
Another interesting approach can include two interwoven <a class="wiki_link" href="/8edo">8-EDO</a> scales (narrow 12/11 neutral seconds). There are two major seventh intervals, a harmonic seventh at step 13\16, a 7/4 ratio approximation, sharp by 6.174 cents, followed by an undecimal 11/6 ratio or neutral seventh (which is mapped in 16's <strong>Mavila</strong> as a major seventh). If we take the 300-cent minor third as an approximation of the harmonic 19th (<a class="wiki_link" href="/19_16">19/16</a>, approximately 297.5 cents), that adds another overtone which can combine with the approximation of the harmonic seventh to form a 16:19:28 triad (pictured below).<br /> | Another interesting approach can include two interwoven <a class="wiki_link" href="/8edo">8-EDO</a> scales (narrow 12/11 neutral seconds). There are two major seventh intervals, a harmonic seventh at step 13\16, a 7/4 ratio approximation, sharp by 6.174 cents, followed by an undecimal 11/6 ratio or neutral seventh (which is mapped in 16's <strong>Mavila</strong> as a major seventh). If we take the 300-cent minor third as an approximation of the harmonic 19th (<a class="wiki_link" href="/19_16">19/16</a>, approximately 297.5 cents), that adds another overtone which can combine with the approximation of the harmonic seventh to form a 16:19:28 triad (pictured below).<br /> | ||
<!-- ws:start:WikiTextRemoteImageRule: | <!-- ws:start:WikiTextRemoteImageRule:1031:&lt;img src=&quot;http://www.ronsword.com/161928%20copy.jpg&quot; alt=&quot;&quot; title=&quot;&quot; style=&quot;height: 179px; width: 316px;&quot; /&gt; --><img src="http://www.ronsword.com/161928%20copy.jpg" alt="external image 161928%20copy.jpg" title="external image 161928%20copy.jpg" style="height: 179px; width: 316px;" /><!-- ws:end:WikiTextRemoteImageRule:1031 --><br /> | ||
<br /> | <br /> | ||
The interval between the 28th &amp; 19th overtones, 28:19, measures approximately 671.3 cents, which is 3.7 cents away from 16edo's &quot;narrow fifth&quot;. Another voicing for this chord is 14:16:19, which features 19:14 as the outer interval (528.7 cents just, 525.0 cents in 16edo). A perhaps more consonant open voicing is 7:16:19.<br /> | The interval between the 28th &amp; 19th overtones, 28:19, measures approximately 671.3 cents, which is 3.7 cents away from 16edo's &quot;narrow fifth&quot;. Another voicing for this chord is 14:16:19, which features 19:14 as the outer interval (528.7 cents just, 525.0 cents in 16edo). A perhaps more consonant open voicing is 7:16:19.<br /> | ||
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<!-- ws:start:WikiTextHeadingRule:11:&lt;h1&gt; --><h1 id="toc4"><a name="Hexadecaphonic Notation"></a><!-- ws:end:WikiTextHeadingRule:11 -->Hexadecaphonic Notation</h1> | <!-- ws:start:WikiTextHeadingRule:11:&lt;h1&gt; --><h1 id="toc4"><a name="Hexadecaphonic Notation"></a><!-- ws:end:WikiTextHeadingRule:11 -->Hexadecaphonic Notation</h1> | ||
<br /> | <br /> | ||
16edo can be notated with conventional notation, including the staff, note names, chord 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 the former is higher pitched than the latter:<br /> | |||
<br /> | |||
D * E * * F * G * A * B * * C * D<br /> | |||
D - D#/Eb - E - E# - Fb - F - F#/Gb - G - G#/Ab - A - A#/Bb - B - B# - Cb - C - C#/Db - D<br /> | |||
P1 - A1/d2 - m2 - M2 - m3 - M3 - A3/d4 - P4 - A4/d5 - P5 - A5/d6 - m6 - M6 - m7 - M7 - A7/d8 - P8<br /> | |||
<table class="wiki_table"> | |||
<tr> | |||
<td style="text-align: center;">D<br /> | |||
</td> | |||
<td style="text-align: center;"><br /> | |||
</td> | |||
<td style="text-align: center;">E<br /> | |||
</td> | |||
<td style="text-align: center;"><br /> | |||
</td> | |||
<td style="text-align: center;"><br /> | |||
</td> | |||
<td style="text-align: center;">F<br /> | |||
</td> | |||
<td style="text-align: center;"><br /> | |||
</td> | |||
<td style="text-align: center;">G<br /> | |||
</td> | |||
<td style="text-align: center;"><br /> | |||
</td> | |||
<td style="text-align: center;">A<br /> | |||
</td> | |||
<td style="text-align: center;"><br /> | |||
</td> | |||
<td style="text-align: center;">B<br /> | |||
</td> | |||
<td style="text-align: center;"><br /> | |||
</td> | |||
<td style="text-align: center;"><br /> | |||
</td> | |||
<td style="text-align: center;">C<br /> | |||
</td> | |||
<td style="text-align: center;"><br /> | |||
</td> | |||
<td style="text-align: center;">D<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td><u>D</u><br /> | |||
</td> | |||
<td>D#/Eb<br /> | |||
</td> | |||
<td><u>E</u><br /> | |||
</td> | |||
<td>_E#_<br /> | |||
</td> | |||
<td>_Fb_<br /> | |||
</td> | |||
<td><u>F</u><br /> | |||
</td> | |||
<td>F#/Gb<br /> | |||
</td> | |||
<td><u>G</u><br /> | |||
</td> | |||
<td>G#/Ab<br /> | |||
</td> | |||
<td><u>A</u><br /> | |||
</td> | |||
<td>A#/Bb<br /> | |||
</td> | |||
<td><u>B</u><br /> | |||
</td> | |||
<td>_B#_<br /> | |||
</td> | |||
<td>_Cb_<br /> | |||
</td> | |||
<td><u>C</u><br /> | |||
</td> | |||
<td>C#/Db<br /> | |||
</td> | |||
<td><u>D</u><br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td style="text-align: center;">P1<br /> | |||
</td> | |||
<td style="text-align: center;">A1/d2<br /> | |||
</td> | |||
<td style="text-align: center;">m2<br /> | |||
</td> | |||
<td style="text-align: center;">M2<br /> | |||
</td> | |||
<td style="text-align: center;">m3<br /> | |||
</td> | |||
<td style="text-align: center;">M3<br /> | |||
</td> | |||
<td style="text-align: center;">A3/d4<br /> | |||
</td> | |||
<td style="text-align: center;">P4<br /> | |||
</td> | |||
<td style="text-align: center;">A4/d5<br /> | |||
</td> | |||
<td style="text-align: center;">P5<br /> | |||
</td> | |||
<td style="text-align: center;">A5/d6<br /> | |||
</td> | |||
<td style="text-align: center;">m6<br /> | |||
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<td style="text-align: center;">M6<br /> | |||
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<td style="text-align: center;">M7<br /> | |||
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<td style="text-align: center;">A7/d8<br /> | |||
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The disadvantage to this approach is that conventional interval arithmetic no longer works. e.g. M2 + M2 isn't M3, and D + M2 isn't E. Chord names are different because C - E - G isn't P1 - M3 - P5.<br /> | |||
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The second approach is to preserve the <u>harmonic</u> meaning of sharp/flat, major/minor and aug/dim, in that the former is further fifthwards on the chain of fifths than the latter:<br /> | |||
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16-EDO notation can be easy utilizing Goldsmith's Circle of keys, nominals, and respective notation. The nominals for a 6 line staff can be switched for Wilson's Beta and Epsilon additions to A-G. Armodue of Italy uses a 4-line staff for 16-EDO.<br /> | 16-EDO notation can be easy utilizing Goldsmith's Circle of keys, nominals, and respective notation. The nominals for a 6 line staff can be switched for Wilson's Beta and Epsilon additions to A-G. Armodue of Italy uses a 4-line staff for 16-EDO.<br /> | ||
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<hr /> | <hr /> | ||
In 16-EDO diatonic scales are dissonant and &quot;shimmery&quot; because of the 25 cent raised superfourth in conjunction with the 25 cent subtracted fifth / poor 3/2 approximation. Scales like the Harmonic Minor scale in 16-EDO require 4 step sizes.<br /> | In 16-EDO diatonic scales are dissonant and &quot;shimmery&quot; because of the 25 cent raised superfourth in conjunction with the 25 cent subtracted fifth / poor 3/2 approximation. Scales like the Harmonic Minor scale in 16-EDO require 4 step sizes.<br /> | ||
| Line 686: | Line 979: | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:13:&lt;h2&gt; --><h2 id="toc5"><a name="Hexadecaphonic Notation-16 Tone Piano Layout Based on the Anti-diatonic Scale"></a><!-- ws:end:WikiTextHeadingRule:13 -->16 Tone Piano Layout Based on the Anti-diatonic Scale</h2> | <!-- ws:start:WikiTextHeadingRule:13:&lt;h2&gt; --><h2 id="toc5"><a name="Hexadecaphonic Notation-16 Tone Piano Layout Based on the Anti-diatonic Scale"></a><!-- ws:end:WikiTextHeadingRule:13 -->16 Tone Piano Layout Based on the Anti-diatonic Scale</h2> | ||
<!-- ws:start:WikiTextLocalImageRule: | <!-- ws:start:WikiTextLocalImageRule:1030:&lt;img src=&quot;/file/view/16-EDO-PIano-Diagram.png/599092760/748x293/16-EDO-PIano-Diagram.png&quot; alt=&quot;&quot; title=&quot;&quot; style=&quot;height: 293px; width: 748px;&quot; /&gt; --><img src="/file/view/16-EDO-PIano-Diagram.png/599092760/748x293/16-EDO-PIano-Diagram.png" alt="16-EDO-PIano-Diagram.png" title="16-EDO-PIano-Diagram.png" style="height: 293px; width: 748px;" /><!-- ws:end:WikiTextLocalImageRule:1030 --><br /> | ||
This Layout places Mavila[7] on the white keys and Mavila[9] on the white keys. As you can see, flats are higher than naturals and sharps are lower.<br /> | This Layout places Mavila[7] on the white keys and Mavila[9] on the white keys. As you can see, flats are higher than naturals and sharps are lower.<br /> | ||
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