Mavila: Difference between revisions

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== Inverted Major and Minor Intervals: The Anti-Diatonic Scale ==

In mavila, the comma 135/128 vanishes, rather than 81/80. As a result, 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 comma 135/128 vanishes, rather than 81/80. As a result, the fifths are very flat (~675-680 cents or so), flatter than even 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.)

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.

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 == Inverted Major and Minor Intervals: The Anti-Diatonic Scale ==
-In mavila, the comma 135/128 vanishes, rather than 81/80. As a result, 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 comma 135/128 vanishes, rather than 81/80. As a result, the fifths are very flat (~675-680 cents or so), flatter than even 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.)
 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.