7L 2s: Difference between revisions

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Much like [[5L 2s|5L 2s diatonic]], mavila is supported by several low-numbered EDOs, which will basically be the same size as the MOS's listed above.

~~7-EDO~~ can be thought of as a degenerate tuning, yielding a totally equal heptatonic scale that is equally diatonic and anti-diatonic.

7edo can be thought of as a degenerate tuning, yielding a totally equal heptatonic scale that is equally diatonic and anti-diatonic.

The next EDO supporting Mavila is ~~9-EDO~~, which can be thought of as the first mavila EDO (and the first EDO in general) differentiating between major and minor chords. This is fairly interesting, as there is no real equivalent in meantone terms. It is larger than the "diatonic" sized MOS, but smaller than the 16-tone "chromatic" MOS. It is best thought of as a "superdiatonic" scale. The fifth is 667 cents.

The next EDO supporting Mavila is 9edo, which can be thought of as the first mavila EDO (and the first EDO in general) differentiating between major and minor chords. This is fairly interesting, as there is no real equivalent in meantone terms. It is larger than the "diatonic" sized MOS, but smaller than the 16-tone "chromatic" MOS. It is best thought of as a "superdiatonic" scale. The fifth is 667 cents.

It is also supported by ~~16-EDO~~, which is probably the most common tuning for mavila. This can be thought of as the first EDO offering the potential for chromatic mavila harmony, similar to ~~12-EDO~~ for meantone. This is also the usual setting for the aforementioned Armodue theory, although the Armodue theory can easily be extended to larger mavila scales such as mavila[23]. The fifth is 675 cents.

It is also supported by 16edo, which is probably the most common tuning for mavila. This can be thought of as the first EDO offering the potential for chromatic mavila harmony, similar to 12edo for meantone. This is also the usual setting for the aforementioned Armodue theory, although the Armodue theory can easily be extended to larger mavila scales such as mavila[23]. The fifth is 675 cents.

The next EDO supporting mavila is ~~23-EDO~~, which is the second-most common tuning for mavila, used frequently by Igliashon Jones in his Cryptic Ruse albums. The fifth is 678 cents, and as a result the harmonic properties are slightly better than ~~16-EDO~~, although still fairly inharmonic compared to meantone. The anti-diatonic scale is more "quasi-equal" in this tuning than in ~~16-EDO~~.

The next EDO supporting mavila is 23edo, which is the second-most common tuning for mavila, used frequently by Igliashon Jones in his Cryptic Ruse albums. The fifth is 678 cents, and as a result the harmonic properties are slightly better than 16edo, although still fairly inharmonic compared to meantone. The anti-diatonic scale is more "quasi-equal" in this tuning than in 16edo.

~~25-EDO~~ also contains mavila, although the tuning is 672 cents and hence very flat, even flatter than ~~16-EDO~~.

25edo also contains mavila, although the tuning is 672 cents and hence very flat, even flatter than 16edo. The major third is 384¢, close to a just [[5/4]] and the minor third is 288¢, close to a just [[13/11]].

The fifths of mavila are very flat - ~~16-EDO~~ (675.0 cents) and ~~23-EDO~~ (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 a lot of rolloff (such as marimba, sine waves, ocarina, etc), or timbres with detuned partials (such as Gamelan or Timbila instruments), etc.

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 a lot of rolloff (such as marimba, sine waves, ocarina, etc), or timbres with detuned partials (such as Gamelan or Timbila instruments), etc.

Mavila defines a tuning "spectrum", similarly to the meantone spectrum. The fifth of ~~7-EDO~~ (~686 cents) is often thought of as a dividing line between diatonic and mavila: if the fifth is flatter than this, it will generate anti-diatonic scales but ''not'' [[7L 2s]] superdiatonic scales (it will generate [[2L 7s]] instead), and if it is sharper than this, it will generate diatonic scales. The fifth of ~~9-EDO~~ is also often thought of as the other tuning endpoint on the mavila spectrum.

Mavila defines a tuning "spectrum", similarly to the meantone spectrum. The fifth of 7edo (~686 cents) is often thought of as a dividing line between diatonic and mavila: if the fifth is flatter than this, it will generate anti-diatonic scales but ''not'' [[7L 2s]] superdiatonic scales (it will generate [[2L 7s]] instead), and if it is sharper than this, it will generate diatonic scales. The fifth of 9edo is also often thought of as the other tuning endpoint on the mavila spectrum.

== Intervals ==

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 Much like [[5L 2s|5L 2s diatonic]], mavila is supported by several low-numbered EDOs, which will basically be the same size as the MOS's listed above.
--EDO can be thought of as a degenerate tuning, yielding a totally equal heptatonic scale that is equally diatonic and anti-diatonic.
+edo can be thought of as a degenerate tuning, yielding a totally equal heptatonic scale that is equally diatonic and anti-diatonic.
-The next EDO supporting Mavila is 9-EDO, which can be thought of as the first mavila EDO (and the first EDO in general) differentiating between major and minor chords. This is fairly interesting, as there is no real equivalent in meantone terms. It is larger than the "diatonic" sized MOS, but smaller than the 16-tone "chromatic" MOS. It is best thought of as a "superdiatonic" scale. The fifth is 667 cents.
+The next EDO supporting Mavila is 9edo, which can be thought of as the first mavila EDO (and the first EDO in general) differentiating between major and minor chords. This is fairly interesting, as there is no real equivalent in meantone terms. It is larger than the "diatonic" sized MOS, but smaller than the 16-tone "chromatic" MOS. It is best thought of as a "superdiatonic" scale. The fifth is 667 cents.
-It is also supported by 16-EDO, which is probably the most common tuning for mavila. This can be thought of as the first EDO offering the potential for chromatic mavila harmony, similar to 12-EDO for meantone. This is also the usual setting for the aforementioned Armodue theory, although the Armodue theory can easily be extended to larger mavila scales such as mavila[23]. The fifth is 675 cents.
+It is also supported by 16edo, which is probably the most common tuning for mavila. This can be thought of as the first EDO offering the potential for chromatic mavila harmony, similar to 12edo for meantone. This is also the usual setting for the aforementioned Armodue theory, although the Armodue theory can easily be extended to larger mavila scales such as mavila[23]. The fifth is 675 cents.
-The next EDO supporting mavila is 23-EDO, which is the second-most common tuning for mavila, used frequently by Igliashon Jones in his Cryptic Ruse albums. The fifth is 678 cents, and as a result the harmonic properties are slightly better than 16-EDO, although still fairly inharmonic compared to meantone. The anti-diatonic scale is more "quasi-equal" in this tuning than in 16-EDO.
+The next EDO supporting mavila is 23edo, which is the second-most common tuning for mavila, used frequently by Igliashon Jones in his Cryptic Ruse albums. The fifth is 678 cents, and as a result the harmonic properties are slightly better than 16edo, although still fairly inharmonic compared to meantone. The anti-diatonic scale is more "quasi-equal" in this tuning than in 16edo.
--EDO also contains mavila, although the tuning is 672 cents and hence very flat, even flatter than 16-EDO.
+edo also contains mavila, although the tuning is 672 cents and hence very flat, even flatter than 16edo. The major third is 384¢, close to a just [[5/4]] and the minor third is 288¢, close to a just [[13/11]].
-The fifths of mavila are very flat - 16-EDO (675.0 cents) and 23-EDO (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 a lot of rolloff (such as marimba, sine waves, ocarina, etc), or timbres with detuned partials (such as Gamelan or Timbila instruments), etc.
+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 a lot of rolloff (such as marimba, sine waves, ocarina, etc), or timbres with detuned partials (such as Gamelan or Timbila instruments), etc.
-Mavila defines a tuning "spectrum", similarly to the meantone spectrum. The fifth of 7-EDO (~686 cents) is often thought of as a dividing line between diatonic and mavila: if the fifth is flatter than this, it will generate anti-diatonic scales but ''not'' [[7L 2s]] superdiatonic scales (it will generate [[2L 7s]] instead), and if it is sharper than this, it will generate diatonic scales. The fifth of 9-EDO is also often thought of as the other tuning endpoint on the mavila spectrum.
+Mavila defines a tuning "spectrum", similarly to the meantone spectrum. The fifth of 7edo (~686 cents) is often thought of as a dividing line between diatonic and mavila: if the fifth is flatter than this, it will generate anti-diatonic scales but ''not'' [[7L 2s]] superdiatonic scales (it will generate [[2L 7s]] instead), and if it is sharper than this, it will generate diatonic scales. The fifth of 9edo is also often thought of as the other tuning endpoint on the mavila spectrum.
 == Intervals ==