7L 2s: Difference between revisions

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'''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 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.

'''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.

In mavila, the fifths are very flat (~675-680 cents or so). They are so flat that they are even flatter than 7-EDO. As a result, stacking 7 of these fifths gives you an "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 ~~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 anti-diatonic scale.)

In mavila, the fifths are very flat (~675-680 cents or so). They are so flat that they are even flatter than 7-EDO. As a result, stacking 7 of these fifths gives you an "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 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.

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.

Because of the structure of this unique tuning, it is true that every existing piece of common practice music has a "shadow" version in mavila. That is, when Beethoven wrote Für Elise, he actually wrote two compositions - the one that you know, and the anti-diatonic equivalent in mavila. It's only that the anti-diatonic versions have never been heard before. Examples of this are provided below.

== Notation ==

In this article we use the Diamond MOS notation, with JKLMNOPQRJ = the symmetric Olympian mode (LLSLLLSLL), J = 261.6255653. &/@ = raise/lower by one chroma. So the fifth chain becomes ... P@ L@ Q M R N J O K P L Q& M& ...

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 | Pattern = LLLsLLLLs
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-'''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 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.
+'''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.
-In mavila, the fifths are very flat (~675-680 cents or so). They are so flat that they are even flatter than 7-EDO. As a result, stacking 7 of these fifths gives you an "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 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 anti-diatonic scale.)
+In mavila, the fifths are very flat (~675-680 cents or so). They are so flat that they are even flatter than 7-EDO. As a result, stacking 7 of these fifths gives you an "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 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.
 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.
-Because of the structure of this unique tuning, it is true that every existing piece of common practice music has a "shadow" version in mavila. That is, when Beethoven wrote Für Elise, he actually wrote two compositions - the one that you know, and the anti-diatonic equivalent in mavila. It's only that the anti-diatonic versions have never been heard before. Examples of this are provided below.
 == Notation ==
 In this article we use the Diamond MOS notation, with JKLMNOPQRJ = the symmetric Olympian mode (LLSLLLSLL), J = 261.6255653. &/@ = raise/lower by one chroma. So the fifth chain becomes ... P@ L@ Q M R N J O K P L Q& M& ...