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7L 2s: Difference between revisions

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Mike Battaglia (talk | contribs)
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partial update, this seems beyond hope. You merged all of the mavila[7] stuff on here? It looks like stuff was copied and pasted from other articles
Mike Battaglia (talk | contribs)
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Actually, I'm just reverting to the last version and undoing my own edit; there are so many problems with this I don't know where to start. Was half of the stuff from mavila temperament somehow moved to this 7L2s page?
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| Neutral = 5L 4s
| Neutral = 5L 4s
}}
}}
The '''7L 2s''' scale step pattern refers to a [[MOS]] scale with 7 large and 2 small steps, one mode of which is LLLsLLLLs.
'''7L 2s''', '''mavila''' (/ˈmɑːvɪlə/ or /ˈmævɪlə/ ''MA(H)-vil-ə''), or '''superdiatonic''' refers to the structure of octave-equivalent [[MOS]] scales with generators ranging from 4\7 (four degrees of [[7edo]] = 685.71¢) to 5\9 (five degrees of [[9edo]] = 666.67¢) and its associated harmonic framework. In the case of 9edo, L and s are the same size; in the case of 7edo, s becomes so small it disappears (and all that remains are the seven equal L's). Mavila was first discovered by [[Erv Wilson]] after studying the tuning of the "Timbila" music of the Chopi tribe in Mozambique. It is also closely related to the "pelog" scale in Indonesian and Balinese Gamelan music.
 
== Introduction ==
Any interval between 4\7 (four degrees of [[7edo]] = 685.71¢) to 5\9 (five degrees of [[9edo]] = 666.67¢) will generate this scale; the generator turns out to be the "large sixth" within the MOS. In the case of 9edo, L and s are the same size; in the case of 7edo, s becomes so small it disappears (and all that remains are the seven equal L's); the 7L 2s spectrum is between these two extremes.
In mavila, the fifths are so flat that they are even flatter than 7-EDO. As a result, stacking 7 of these fifths gives you an "[[2L 5s|anti-diatonic]]" 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 *minor* third, whereas stacking three fourths and octave-reducing now gets you a *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 anti-diatonic scale.)
 
This scale is sometimes referred to as the '''superdiatonic''' scale, which is also the [[TAMNAMS]] name for the scale. It is also notable as being one of the MOS's produced by near-optimal tunings for [[mavila]] temperament.


The same generator also generates the [[2L 5s]] "anti-diatonic" MOS, which Erv Wilson first studied as being very similar to the tuning of the traditional Timbila music of the Chopi tribe in Mozambique (and from which the name "Mavila" is derived); the superdiatonic scale can be thought of as adding two additional pitches to the anti-diatonic MOS. This generator also generates the [[2L 3s]] MOS, albeit the "hard" tunings in which L/s > 3; these share some resemblance to the "pelog" scale of Gamelan music.
This has some very strange implications for music. The mavila diatonic 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.


== Introduction ==
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.
In the superdiatonic scale, the fifths are so flat that they are even flatter than 7-EDO. As a result, stacking 7 of these fifths gives you an "[[2L 5s|anti-diatonic]]" 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 *minor* third, whereas stacking three fourths and octave-reducing now gets you a *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 anti-diatonic scale.)


This has some very strange implications for music. The superdiatonic 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.
In addition to the 7-note anti-diatonic scale described, Mavila also has a 9 note "superdiatonic" MOS, the "super-Ionian" mode of which is LLLsLLLLs. This is the basis for [[Armodue theory]].


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


7edo 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.
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