Template:Mavila: Difference between revisions
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{{{Tuning|{{PAGENAME}}}}} can be notated with conventional notation, including the staff, note names, relative notation, etc. in two ways. | |||
The first, ''melodic notation'', defines sharp/flat, major/minor, and aug/dim in terms of the | The first, ''melodic notation'', defines sharp/flat, major/minor, and aug/dim in terms of the antidiatonic scale, such that sharp is higher pitched than flat, and major/aug is wider than minor/dim, as would be expected. Because it does not follow diatonic conventions, conventional interval arithmetic no longer works, e.g. {{nowrap|M2 + M2}} is not M3, and {{nowrap|D + M2}} is not E. Because antidiatonic is the sister scale to diatonic, you can solve this by swapping major and minor in interval arithmetic rules. Note that the notes that form chords are different from in diatonic: for example, a major chord, {{nowrap|P1–M3–P5}}, is approximately 4:5:6 as would be expected, but is notated {{nowrap|C–E♯–G}} on C. | ||
Alternatively, one can essentially pretend the | Alternatively, one can essentially pretend the antidiatonic scale is a normal diatonic, meaning that sharp is lower in pitch than flat (since the "S" step is larger than the "L" step) and major/aug is narrower than minor/dim, known as ''harmonic notation''. The primary purpose of doing this is to allow music notated in 12edo or another diatonic system to be directly translated on the fly, or to allow support for {{{Tuning|{{lc:{{PAGENAME}}}}}}} in tools that only allow chain-of-fifths notation, and it carries over the way interval arithmetic works from diatonic notation, at the cost of notating the sizes of intervals and the shapes of chords incorrectly: that is, a major chord, {{nowrap|P1–M3–P5}}, is notated {{nowrap|C–E–G}} on C, but is no longer ~4:5:6 (since the third is closer to a minor third). | ||
For the sake of clarity, the first notation is commonly called ''melodic notation'', and the second is called ''harmonic notation'', but this is a bit of a misnomer as both preserve different features of the notation of harmony. | For the sake of clarity, the first notation is commonly called ''melodic notation'', and the second is called ''harmonic notation'', but this is a bit of a misnomer as both preserve different features of the notation of harmony. |
Revision as of 07:40, 30 July 2025
Mavila can be notated with conventional notation, including the staff, note names, relative notation, etc. in two ways.
The first, melodic notation, defines sharp/flat, major/minor, and aug/dim in terms of the antidiatonic scale, such that sharp is higher pitched than flat, and major/aug is wider than minor/dim, as would be expected. Because it does not follow diatonic conventions, conventional interval arithmetic no longer works, e.g. M2 + M2 is not M3, and D + M2 is not E. Because antidiatonic is the sister scale to diatonic, you can solve this by swapping major and minor in interval arithmetic rules. Note that the notes that form chords are different from in diatonic: for example, a major chord, P1–M3–P5, is approximately 4:5:6 as would be expected, but is notated C–E♯–G on C.
Alternatively, one can essentially pretend the antidiatonic scale is a normal diatonic, meaning that sharp is lower in pitch than flat (since the "S" step is larger than the "L" step) and major/aug is narrower than minor/dim, known as harmonic notation. The primary purpose of doing this is to allow music notated in 12edo or another diatonic system to be directly translated on the fly, or to allow support for mavila in tools that only allow chain-of-fifths notation, and it carries over the way interval arithmetic works from diatonic notation, at the cost of notating the sizes of intervals and the shapes of chords incorrectly: that is, a major chord, P1–M3–P5, is notated C–E–G on C, but is no longer ~4:5:6 (since the third is closer to a minor third).
For the sake of clarity, the first notation is commonly called melodic notation, and the second is called harmonic notation, but this is a bit of a misnomer as both preserve different features of the notation of harmony.
Notation | P1–M3–P5 ~ 4:5:6 | P1–M3–P5 = C–E–G on C |
---|---|---|
Diatonic | No | Yes |
Antidiatonic | Yes | No |
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This template should not be substituted. |
This template is designed to provide a basic rundown on how to notate Mavila. It shows how conventional sharps and flats can be used, and how the notation differs between harmonic and melodic conventions.
{{{Tuning}}}
defaults to the page title ("Mavila" in the template page), but can be specified. It places the name of the tuning being talked about at the start of the template (e.g. 16edo, 23edo).