Template:Mavila: Difference between revisions

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{{{Tuning|{{ED title}}}}} can be notated with conventional notation, including the staff, note names, relative notation, etc. in two ways.

{{{Tuning|<includeonly>{{ED title}}</includeonly><noinclude>{{PAGENAME}}</noinclude>}}} can be notated with conventional notation, including the staff, note names, relative notation, etc. in two ways.

The first, ''melodic notation'', defines sharp/flat, major/minor, and aug/dim in terms of the antidiatonic scale, such that sharp is higher pitched than flat, and major/aug is wider than minor/dim, as would be expected. Because it does not follow diatonic conventions, conventional interval arithmetic no longer works, e.g. {{nowrap|M2 + M2}} is not M3, and {{nowrap|D + M2}} is not E. Because antidiatonic is the sister scale to diatonic, you can solve this by swapping major and minor in interval arithmetic rules. Note that the notes that form chords are different from in diatonic: for example, a major chord, {{nowrap|P1–M3–P5}}, is approximately 4:5:6 as would be expected, but is notated {{nowrap|C–E♯–G}} on C.

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	{{{Tuning\|{{ED title}}}}} can be notated with conventional notation, including the staff, note names, relative notation, etc. in two ways.		{{{Tuning\|<includeonly>{{ED title}}</includeonly><noinclude>{{PAGENAME}}</noinclude>}}} can be notated with conventional notation, including the staff, note names, relative notation, etc. in two ways.

	The first, ''melodic notation'', defines sharp/flat, major/minor, and aug/dim in terms of the antidiatonic scale, such that sharp is higher pitched than flat, and major/aug is wider than minor/dim, as would be expected. Because it does not follow diatonic conventions, conventional interval arithmetic no longer works, e.g. {{nowrap\|M2 + M2}} is not M3, and {{nowrap\|D + M2}} is not E. Because antidiatonic is the sister scale to diatonic, you can solve this by swapping major and minor in interval arithmetic rules. Note that the notes that form chords are different from in diatonic: for example, a major chord, {{nowrap\|P1–M3–P5}}, is approximately 4:5:6 as would be expected, but is notated {{nowrap\|C–E♯–G}} on C.		The first, ''melodic notation'', defines sharp/flat, major/minor, and aug/dim in terms of the antidiatonic scale, such that sharp is higher pitched than flat, and major/aug is wider than minor/dim, as would be expected. Because it does not follow diatonic conventions, conventional interval arithmetic no longer works, e.g. {{nowrap\|M2 + M2}} is not M3, and {{nowrap\|D + M2}} is not E. Because antidiatonic is the sister scale to diatonic, you can solve this by swapping major and minor in interval arithmetic rules. Note that the notes that form chords are different from in diatonic: for example, a major chord, {{nowrap\|P1–M3–P5}}, is approximately 4:5:6 as would be expected, but is notated {{nowrap\|C–E♯–G}} on C.