16edo: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

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In 16-tone, because of the 25 cent difference in the steps from 100 in 12-tone, a western "twelve tone ear" hears dissonance with more complexity and less familiarity than even 24-tone, yet within a more manageable number of tones and a strange familiarity - the diminished. Hence, why 16-tone is a truly Xenharmonic system.

In 16-edo Diatonic scales played are dissonant because of the 25 cent raised superfourth in conjunction with the 25 cent subtracted fifth. The septimal semi diminished fourth can be more desirable. Perhaps using Moment of Symmetry Scales like the "Anti-Diatonic" Mavila (which reverses step sizes of diatonic), Diminished, Happy, Rice, Grumpy, Mosh, and Decatonic can be more interesting and suitable.

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In 16-tone, because of the 25 cent difference in the steps from 100 in 12-tone, a western &quot;twelve tone ear&quot; hears dissonance with more complexity and less familiarity than even 24-tone, yet within a more manageable number of tones and a strange familiarity - the diminished. Hence, why 16-tone is a truly Xenharmonic system.

In 16-edo Diatonic scales played are dissonant because of the 25 cent raised superfourth in conjunction with the 25 cent subtracted fifth. The septimal semi diminished fourth can be more desirable. Perhaps using Moment of Symmetry Scales like the &quot;Anti-Diatonic&quot; Mavila (which reverses step sizes of diatonic), Diminished, Happy, Rice, Grumpy, Mosh, and Decatonic can be more interesting and suitable.

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 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:guest|guest]] and made on <tt>2010-04-12 05:36:09 UTC</tt>.<br>
+: This revision was by author [[User:guest|guest]] and made on <tt>2010-04-12 06:12:03 UTC</tt>.<br>
-: The original revision id was <tt>133664275</tt>.<br>
+: The original revision id was <tt>133667523</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>
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 In 16-tone, because of the 25 cent difference in the steps from 100 in 12-tone, a western "twelve tone ear" hears dissonance with more complexity and less familiarity than even 24-tone, yet within a more manageable number of tones and a strange familiarity - the diminished. Hence, why 16-tone is a truly Xenharmonic system.
+In 16-edo Diatonic scales played are dissonant because of the 25 cent raised superfourth in conjunction with the 25 cent subtracted fifth. The septimal semi diminished fourth can be more desirable. Perhaps using Moment of Symmetry Scales like the "Anti-Diatonic" Mavila (which reverses step sizes of diatonic), Diminished, Happy, Rice, Grumpy, Mosh, and Decatonic can be more interesting and suitable.
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 In 16-tone, because of the 25 cent difference in the steps from 100 in 12-tone, a western &amp;quot;twelve tone ear&amp;quot; hears dissonance with more complexity and less familiarity than even 24-tone, yet within a more manageable number of tones and a strange familiarity - the diminished. Hence, why 16-tone is a truly Xenharmonic system.&lt;br /&gt;
+In 16-edo Diatonic scales played are dissonant because of the 25 cent raised superfourth in conjunction with the 25 cent subtracted fifth. The septimal semi diminished fourth can be more desirable. Perhaps using Moment of Symmetry Scales like the &amp;quot;Anti-Diatonic&amp;quot; Mavila (which reverses step sizes of diatonic), Diminished, Happy, Rice, Grumpy, Mosh, and Decatonic can be more interesting and suitable.&lt;br /&gt;
 &lt;br /&gt;
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