Mavila: Difference between revisions
ArrowHead294 (talk | contribs) |
ArrowHead294 (talk | contribs) No edit summary |
||
| Line 4: | Line 4: | ||
See [[Pelogic family #Mavila]] for more technical data. | See [[Pelogic family #Mavila]] for more technical data. | ||
== Inverted major and minor intervals: | == Inverted major and minor intervals: The antidiatonic scale == | ||
In mavila, the major chroma ([[135/128]]) is tempered out, rather than 81/80. As a result, the fifths are very flat (~675 | In mavila, the major chroma ([[135/128]]) is tempered out, rather than 81/80. As a result, the fifths are very flat (~675–680 cents or so), flatter than even 7edo. As a result, stacking 7 of these fifths gives you an "antidiatonic" mos scale, where in a certain sense, major and minor intervals get "reversed". For example, stacking four fifths and octave-reducing now gets you a 6/5 ''minor'' third, whereas stacking three fourths and octave-reducing now gets you a 5/4 ''major'' third. Note that since we have a heptatonic scale, terms like "fifths", "thirds", etc. make perfect sense and really are five, three, etc. steps in the antidiatonic scale. | ||
This has some very strange implications for music. The mavila antidiatonic scale is similar to the normal diatonic scale | This has some very strange implications for music. The mavila antidiatonic scale is similar to the normal diatonic scale—except interval classes are flipped. Wherever there was a major third, you'll find a minor third, and vice versa. Half steps become whole steps and whole steps become half steps (closer to neutral second range, however). When you sharpen the leading tone in minor, you end up sharpening it down instead, meaning you flatten it. Also, minor is now major—you end up with three parallel natural/harmonic/melodic major scales, and only one minor scale. Instead of a diminished triad in the major scale, there is now an augmented triad. | ||
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. | ||
| Line 26: | Line 26: | ||
Mavila generates a 16-tone "chromatic" mos. In a certain sense, much of mavila makes sense if viewed within the lens of a 16-tone chromatic gamut, similarly to how much of meantone is thought of in the setting of a 12-tone chromatic gamut. | Mavila generates a 16-tone "chromatic" mos. In a certain sense, much of mavila makes sense if viewed within the lens of a 16-tone chromatic gamut, similarly to how much of meantone is thought of in the setting of a 12-tone chromatic gamut. | ||
After the 16-tone "chromatic" scale is the 23-tone "enharmonic" mos, which can be thought of as an "extended mavila" analogous to the "extended meantone" 19-tone enharmonic scale. If the mavila fifth is flatter than that of 16edo (675 cents), it will instead generate an mos at 25 notes. This is similar to how if the | After the 16-tone "chromatic" scale is the 23-tone "enharmonic" mos, which can be thought of as an "extended mavila" analogous to the "extended meantone" 19-tone enharmonic scale. If the mavila fifth is flatter than that of 16edo (675 cents), it will instead generate an mos at 25 notes. This is similar to how if the fifth is tuned sharper than 12edo, it will generate a 17-tone mos rather than a 19-tone one. | ||
== Tunings == | == Tunings == | ||
The fifths of mavila are very flat | 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 (e.g. 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, especially on inharmonic timbres. | ||
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. | ||
| Line 159: | Line 159: | ||
== Notes == | == Notes == | ||
[[Category:Mavila| ]] <!-- | [[Category:Mavila| ]] <!-- Main article --> | ||
[[Category:Temperaments]] | [[Category:Temperaments]] | ||
[[Category:Pelogic family]] | [[Category:Pelogic family]] | ||
[[Category:Starling temperaments]] | [[Category:Starling temperaments]] | ||