Template:Mavila
This tuning can be notated with conventional notation, including the staff, note names, relative notation, etc. in two ways.
The first defines sharp/flat, major/minor and aug/dim in terms of the native 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. M2 + M2 is not M3, and 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, P1–M3–P5, is approximately 4:5:6 as would be expected, but is notated C–E#–G on C.
Alternatively, one can essentially pretend the native antidiatonic scale is a normal diatonic, meaning that sharp is lower in pitch than flat (since the "S" step is larger than the "L" step) and major/aug is narrower than minor/dim. The primary purpose of doing this is to allow music notated in 12edo or another diatonic system to be directly translated on the fly, or to allow support for this tuning in tools that only allow chain-of-fifths notation, and it carries over the way interval arithmetic works from diatonic notation, at the cost of notating the sizes of intervals and the shapes of chords incorrectly: that is, a major chord, P1–M3–P5, is notated C–E–G on C, but is no longer ~4:5:6 (since the third is closer to a minor third).
For the sake of clarity, the first notation is commonly called melodic notation, and the second is called harmonic notation, but this is a bit of a misnomer as both preserve different features of the notation of harmony.
| P1–M3–P5 ~ 4:5:6 | P1–M3–P5 = C–E–G on C | |
|---|---|---|
| Diatonic notation | No | Yes |
| Antidiatonic notation | Yes | No |