16edo: Difference between revisions
Wikispaces>guest **Imported revision 121703415 - Original comment: ** |
Wikispaces>guest **Imported revision 121703923 - 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:guest|guest]] and made on <tt>2010-02-20 01: | : This revision was by author [[User:guest|guest]] and made on <tt>2010-02-20 01:31:15 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>121703923</tt>.<br> | ||
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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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==Theory== | ==Theory== | ||
16-tone equal temperament is the division of the octave into sixteen narrow chromatic semitones. It can be treated as 4 interwoven diminished seven arpeggios, or as 2 interwoven 8-edo scales (narrow 11-limit whole tones which when stacked produce minor third intervals). 16-tone has the same stacked minor thirds diminished seventh scale/chord available in 12, and It is often cited that the most consonant chords involve the tritone. (However with the correct timbre, one can suggest consonance with any tuning.) | 16-tone equal temperament is the division of the octave into sixteen narrow chromatic semitones. It can be treated as 4 interwoven diminished seven arpeggios, or as 2 interwoven 8-edo scales (narrow 11-limit whole tones which when stacked produce minor third intervals). 16-tone has the same stacked minor thirds diminished seventh scale/chord available in 12, and It is often cited that the most consonant chords involve the tritone. (However with the correct timbre, one can suggest consonance with any tuning.) | ||
One neat xenharmonic aspect of 16-tone is how the 11-limit whole tone scale using the neutral second, interlocks with the diminished scale, similar to how the augmented scale and whole tone relationship in 12-tone (the whole tone divides the major third in 12, in 16-it's the minor third). | |||
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. Hence, why 16-tone is a truly Xenharmonic system. | |||
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<!-- ws:start:WikiTextHeadingRule:2:&lt;h2&gt; --><h2 id="toc1"><a name="x16 tone equal temperament-Theory"></a><!-- ws:end:WikiTextHeadingRule:2 -->Theory</h2> | <!-- ws:start:WikiTextHeadingRule:2:&lt;h2&gt; --><h2 id="toc1"><a name="x16 tone equal temperament-Theory"></a><!-- ws:end:WikiTextHeadingRule:2 -->Theory</h2> | ||
16-tone equal temperament is the division of the octave into sixteen narrow chromatic semitones. It can be treated as 4 interwoven diminished seven arpeggios, or as 2 interwoven 8-edo scales (narrow 11-limit whole tones which when stacked produce minor third intervals). 16-tone has the same stacked minor thirds diminished seventh scale/chord available in 12, and It is often cited that the most consonant chords involve the tritone. (However with the correct timbre, one can suggest consonance with any tuning.)<br /> | 16-tone equal temperament is the division of the octave into sixteen narrow chromatic semitones. It can be treated as 4 interwoven diminished seven arpeggios, or as 2 interwoven 8-edo scales (narrow 11-limit whole tones which when stacked produce minor third intervals). 16-tone has the same stacked minor thirds diminished seventh scale/chord available in 12, and It is often cited that the most consonant chords involve the tritone. (However with the correct timbre, one can suggest consonance with any tuning.)<br /> | ||
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One neat xenharmonic aspect of 16-tone is how the 11-limit whole tone scale using the neutral second, interlocks with the diminished scale, similar to how the augmented scale and whole tone relationship in 12-tone (the whole tone divides the major third in 12, in 16-it's the minor third).<br /> | |||
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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. Hence, why 16-tone is a truly Xenharmonic system.<br /> | |||
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