Mavila: Difference between revisions

Line 13:

| Color name = Layobiti

| MOS scales = [[2L 3s]], [[2L 5s]], [[7L 2s]]

| Odd limit 1 = 5 | Mistuning 1 = 23.0 | Complexity 1 = 9

| Odd limit 1 = 5 | Mistuning 1 = 23.0 | Complexity 1 = 5

| Odd limit 2 = (5~~-limit~~) 9 | Mistuning 2 = 36.9 | Complexity 2 = 16

| Odd limit 2 = (2.3.5.11) 11 | Mistuning 2 = 36.9 | Complexity 2 = 7

}}

'''Mavila''' is a [[regular temperament|temperament]] where the major chroma, [[135/128]], is [[tempering out|tempered out]]. Like [[meantone]], mavila is based on the [[chain of fifths]], but as a result of tempering out 135/128 rather than [[81/80]], the fifths are supposedly very flat ({{nowrap|~{{dash|670, 680}}}}{{c}} or so), flatter than even that of [[7edo]] (4\7). Consequently, stacking 7 of these fifths gives you an [[2L 5s|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 the fifth, third, etc. steps in the antidiatonic scale.

@@ Line 13: / Line 13: @@
 | Color name = Layobiti
 | MOS scales = [[2L&nbsp;3s]], [[2L&nbsp;5s]], [[7L&nbsp;2s]]
-| Odd limit 1 = 5 | Mistuning 1 = 23.0 | Complexity 1 = 9
+| Odd limit 1 = 5 | Mistuning 1 = 23.0 | Complexity 1 = 5
-| Odd limit 2 = (5-limit) 9 | Mistuning 2 = 36.9 | Complexity 2 = 16
+| Odd limit 2 = (2.3.5.11) 11 | Mistuning 2 = 36.9 | Complexity 2 = 7
 }}
 '''Mavila''' is a [[regular temperament|temperament]] where the major chroma, [[135/128]], is [[tempering out|tempered out]]. Like [[meantone]], mavila is based on the [[chain of fifths]], but as a result of tempering out 135/128 rather than [[81/80]], the fifths are supposedly very flat ({{nowrap|~{{dash|670, 680}}}}{{c}} or so), flatter than even that of [[7edo]] (4\7). Consequently, stacking 7 of these fifths gives you an [[2L 5s|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 the fifth, third, etc. steps in the antidiatonic scale.