Mavila: Difference between revisions
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As an example, the anti-Ionian scale has steps of ssLsssL, which looks like the regular Ionian scale except the "L" intervals are now "s" and vice versa. | As an example, the anti-Ionian scale has steps of ssLsssL, which looks like the regular Ionian scale except the "L" intervals are now "s" and vice versa. | ||
Because of the structure of this unique tuning, | Because of the structure of this unique tuning, every existing piece of common practice music has, effectively, a "shadow" version in mavila temperament. That is, when Beethoven wrote Für Elise, he actually wrote two compositions—the one that you know, and the antidiatonic equivalent in mavila temperament. It's only that the antidiatonic versions have never been heard before. Examples of this are provided below. | ||
Mavila's antidiatonic scale is similar to the [[pelog]] scale used in Indonesian gamelan music. Pelog's exact tuning is subject to significant regional variation and usually has unequal intervals throughout the scale (as opposed to having exactly two interval sizes), but it can be well approximated by the antidiatonic scale of [[9edo]]. | |||
== Modal harmony == | == Modal harmony == | ||
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* [[Mavila-eb]] – 12-tone chromatic scale, equal-beating tuning | * [[Mavila-eb]] – 12-tone chromatic scale, equal-beating tuning | ||
=== | === MOS tree === | ||
In addition to the 7-note anti-diatonic scale described, Mavila also has a 9 note "superdiatonic" mos, the "super-Ionian" mode of which looks LLLsLLLLs. This is the basis for the [[Armodue theory]]. | In addition to the 7-note anti-diatonic scale described, Mavila also has a 9 note "superdiatonic" mos, the "super-Ionian" mode of which looks LLLsLLLLs. This is the basis for the [[Armodue theory]]. | ||
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== Tunings == | == Tunings == | ||
The fifths of mavila are very flat – 16edo (675.0 cents) and 23edo (678.3 cents) are typical tunings, and the optimal 5-limit tuning is 679.8 cents. As a result, mavila is best played with specialized timbres: either timbres with high rolloff (such as sine waves, marimba, and ocarina) or high inharmonicity (detuned partials, such as Gamelans, bells, or Timbila instruments). [[Stretched and compressed tuning|Octave stretching]] | The fifths of mavila are very flat – 16edo (675.0 cents) and 23edo (678.3 cents) are typical tunings, and the optimal 5-limit tuning is 679.8 cents. As a result, mavila is best played with specialized timbres: either timbres with high rolloff (such as sine waves, marimba, and ocarina) or high inharmonicity (detuned partials, such as Gamelans, bells, or Timbila instruments). [[Stretched and compressed tuning|Octave stretching]] can also help improve the intonation of various intervals. | ||
As with meantone, mavila has its own tuning spectrum. 7edo, with its 685.714 cent fifth, is often thought of as an informal dividing line between meantone and mavila, in which case it forms the sharpmost endpoint on the mavila tuning spectrum and the flatmost endpoint of the meantone spectrum: if the fifth is flatter than this, it will generate anti-diatonic scales, and if it is sharper than this, it will generate diatonic scales. The fifth of 9edo is also often thought of as the other (flatmost) endpoint on the mavila spectrum. | As with meantone, mavila has its own tuning spectrum. 7edo, with its 685.714 cent fifth, is often thought of as an informal dividing line between meantone and mavila, in which case it forms the sharpmost endpoint on the mavila tuning spectrum and the flatmost endpoint of the meantone spectrum: if the fifth is flatter than this, it will generate anti-diatonic scales, and if it is sharper than this, it will generate diatonic scales. The fifth of 9edo is also often thought of as the other (flatmost) endpoint on the mavila spectrum. | ||