Mavila: Difference between revisions

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{{About|the regular temperament|the scale structure sometimes associated with it|7L 2s}}

'''Mavila''' is a [[temperament]] first discovered by [[Erv Wilson]], possibly in 1989<ref>A ''Linear Tuning of 4-"5"-"6" Artihmetic Mean (−3=5)'' paper from 1989 was referenced in Erv Wilson's ''Meta Meantone & Meta Mavila'' paper.</ref>, after studying the tuning of the timbila music of the Chopi tribe in Mozambique.

'''Mavila''' is a [[regular temperament|temperament]] where the [[135/128|major chroma (135/128)]] is tempered out. It was first discovered by [[Erv Wilson]], possibly in 1989<ref>A ''Linear Tuning of 4-"5"-"6" Artihmetic Mean (−3=5)'' paper from 1989 was referenced in Erv Wilson's ''Meta Meantone & Meta Mavila'' paper.</ref>, after studying the tuning of the timbila music of the Chopi tribe in Mozambique.

See [[Pelogic family #Mavila]] for more technical data.

== Inverted major and minor intervals: ~~The~~ antidiatonic scale ==

== 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 (~675–680 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.

As a result of tempering out 135/128 rather than 81/80, the fifths are very flat (~675–680 cents or so), flatter than even that of [[7edo]] (4\7). Consequently, 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—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.

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 {{About|the regular temperament|the scale structure sometimes associated with it|7L 2s}}
-'''Mavila''' is a  [[temperament]] first discovered by [[Erv Wilson]], possibly in 1989<ref>A ''Linear Tuning of 4-"5"-"6" Artihmetic Mean (−3=5)'' paper from 1989 was referenced in Erv Wilson's ''Meta Meantone & Meta Mavila'' paper.</ref>, after studying the tuning of the timbila music of the Chopi tribe in Mozambique.
+'''Mavila''' is a [[regular temperament|temperament]] where the [[135/128|major chroma (135/128)]] is tempered out. It was first discovered by [[Erv Wilson]], possibly in 1989<ref>A ''Linear Tuning of 4-"5"-"6" Artihmetic Mean (−3=5)'' paper from 1989 was referenced in Erv Wilson's ''Meta Meantone & Meta Mavila'' paper.</ref>, after studying the tuning of the timbila music of the Chopi tribe in Mozambique.
 See [[Pelogic family #Mavila]] for more technical data.
-== Inverted major and minor intervals: The antidiatonic scale ==
+== 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&ndash;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.
+As a result of tempering out 135/128 rather than 81/80, the fifths are very flat (~675&ndash;680 cents or so), flatter than even that of [[7edo]] (4\7). Consequently, 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&mdash;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&mdash;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.