31edo solfege - Revision history

BudjarnLambeth: Add links

2024-12-24T07:39:12Z

Add links

← Older revision		Revision as of 07:39, 24 December 2024
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	\|Do		\|Do
	\|}		\|}
	The system shown preserved vowels in perfect fifths in any scale that only uses notes from meantone[7] modes, mohajira[7] modes, and substitutions of meantone intervals with corresponding septimal subminor or supermajor intervals, allowing for any diatonic type scale to be simple as easy to learn, as the inconsistencies of So-Ra and Te-Fo can be smoothed out by the fact that Ra can also be called Ro, for perfect second, or 9/8, and Fo is also Fe, as it's the "minor fourth", as 4/3 is tempered together with 27/20. These ~~commas~~ being tempered allows the system to preserve a surprising amount of consistency, being extremely easy to learn. Du is used for the up unison because it helps consistency, is generally used as a quartertone in scales like Centaurus, and because it allows the also common augmented and upaugmented unisons to be named, with Da and Di.		The system shown preserved vowels in perfect fifths in any scale that only uses notes from [[meantone]][7] modes, [[mohajira]][7] modes, and substitutions of meantone intervals with corresponding [[7-limit\|septimal]] (7-limit) [[subminor]] or [[supermajor]] intervals, allowing for any diatonic type scale to be simple as easy to learn, as the inconsistencies of So-Ra and Te-Fo can be smoothed out by the fact that Ra can also be called Ro, for perfect second, or [[9/8]], and Fo is also Fe, as it's the "minor fourth", as [[4/3]] is tempered together with [[27/20]]. These [[comma]]s being [[tempered]] allows the system to preserve a surprising amount of consistency, being extremely easy to learn. Du is used for the up unison because it helps consistency, is generally used as a [[quartertone]] in scales like [[Centaurus]], and because it allows the also common augmented and upaugmented unisons to be named, with Da and Di.

	The system is built on this consistency, and preserves the standard minor intervals names, as well as -a as the standard major from La, and Ti as the strongest leading tone, here being the upmajor seventh. The remaining vowels of -uh for sub and -u for neutral are used because they correspond to the vowel sounds from their respective words.		The system is built on this consistency, and preserves the standard minor intervals names, as well as -a as the standard major from La, and Ti as the strongest leading tone, here being the upmajor seventh. The remaining vowels of -uh for sub and -u for neutral are used because they correspond to the vowel sounds from their respective words.
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	To expand into intervals that surpass these, such as the ^A5, we will extend to Augmented, Diminished, Upaugmented, and Downdiminished intervals. The vowels for these are -ah (short a sound), -ih (for the short i in diminished), oy, and ow (for down) respectively. They work similarly to the others, and are first used in the second set of unisons, allowing the M7-A4 and d5-m2 perfect fifths and others of the sort to still use consistent vowels, as they show up in diatonic scales.		To expand into intervals that surpass these, such as the ^A5, we will extend to Augmented, Diminished, Upaugmented, and Downdiminished intervals. The vowels for these are -ah (short a sound), -ih (for the short i in diminished), oy, and ow (for down) respectively. They work similarly to the others, and are first used in the second set of unisons, allowing the M7-A4 and d5-m2 perfect fifths and others of the sort to still use consistent vowels, as they show up in diatonic scales.

	If intervals are used solely for their 3-limit role, such as the M2 or in some cases the M6, the names Ro and Lo may be used, for perfect second or perfect sixth, as Ra can be thought of to imply 10/9, while Ro would imply 9/8, similarly to Lo and 27/16. In other cases, Mo would be 32/27 and To would be 16/9. A situation where this naming scheme may be used would be in Harrison Major, P1 M2 ^M3 P4 P5 M6 ^M7 P8, where the M6 is used so that the ii chord has a perfect fifth, while the vi chord has a wolf fifth in order to be used as a "wolf tonic" to prevent tonicization.		If intervals are used solely for their 3-limit role, such as the M2 or in some cases the M6, the names Ro and Lo may be used, for perfect second or perfect sixth, as Ra can be thought of to imply 10/9, while Ro would imply 9/8, similarly to Lo and 27/16. In other cases, Mo would be 32/27 and To would be 16/9. A situation where this naming scheme may be used would be in Harrison Major, P1 M2 ^M3 P4 P5 M6 ^M7 P8, where the M6 is used so that the ii chord has a perfect fifth, while the vi chord has a [[Wolf interval\|wolf fifth]] in order to be used as a "wolf tonic" to prevent tonicization.

	==Kite Giedraitis's solfege==		==Kite Giedraitis's solfege==
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	Once this is fully internalized, add in the other 4 vowels.		Once this is fully internalized, add in the other 4 vowels.

	===The circle of fifths===		===The circle of fifths===
	The 5 vowels create 5 chains of fifths. The 2 ~~tritones~~ with duplicate names each connect 2 pairs of chains. Thus there are only 3 fifths that don't rhyme:		The 5 vowels create 5 [[chain of fifths\|chains of fifths]]. The 2 [[tritone]]s with duplicate names each connect 2 pairs of chains. Thus there are only 3 fifths that don't rhyme:

	*Do - Se (P1 to P5)		*Do - Se (P1 to P5)
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	However going a 5th up from an aug or upaug 4th would go to an aug or upaug 8ve, which doesn't exist in this solfege. Therefore one must rename the 4th as a dim 5th, then go up to a minor 2nd. Thus Fe + 5th = Su + 5th = Ru. Dim 5ths may also need renaming: So + 4th = Fi + 4th = Ti.		However going a 5th up from an aug or upaug 4th would go to an aug or upaug 8ve, which doesn't exist in this solfege. Therefore one must rename the 4th as a dim 5th, then go up to a minor 2nd. Thus Fe + 5th = Su + 5th = Ru. Dim 5ths may also need renaming: So + 4th = Fi + 4th = Ti.

	==Andrew Heathwaite's solfege==		==Andrew Heathwaite's solfege==

	[[Andrew Heathwaite]]'s solfege is a subset of his [[41edo]] solfege. It expands on the conventional Do - Di/Ra - Re - Ri/Me - Mi - Fa - Fi/Se - So - Si/Le - La - Li/Te - Ti - Do. As a result there are 6 different vowel sequences.		[[Andrew Heathwaite]]'s solfege is a subset of his [[41edo]] solfege. It expands on the conventional Do - Di/Ra - Re - Ri/Me - Mi - Fa - Fi/Se - So - Si/Le - La - Li/Te - Ti - Do. As a result there are 6 different vowel sequences.
	{\| class="wikitable" style="text-align:center"		{\| class="wikitable" style="text-align:center"
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	See also: [[17edo Solfege]], [[22edo Solfege]], [[29edo solfege\|29edo Solfege]] and [[41edo solfege\|41edo Solfege]].		See also: [[17edo Solfege]], [[22edo Solfege]], [[29edo solfege\|29edo Solfege]] and [[41edo solfege\|41edo Solfege]].

	For intervals that appear in the diatonic scale, the traditional solfege names are grandfathered in. While this makes it easier to learn the new syllables as extensions of the old ones — if you are trained with the old ones to begin with — it also makes for many irregularities.		For intervals that appear in the [[diatonic scale]], the traditional solfege names are grandfathered in. While this makes it easier to learn the new syllables as extensions of the old ones — if you are trained with the old ones to begin with — it also makes for many irregularities.

	The syllables '''do, re, mi, fa, so[l], la, ti''' have the same meaning as traditional major and perfect intervals. The names for minor intervals are also retained: '''ra, me, le, te''', as well as the augmented fourth, '''fi''', and diminished fifth, '''se'''. Some traditional names for chromatically-altered intervals appear here, but altered by a semisharp or semiflat, rather than a full sharp or flat: '''di''' for a semiaugmented unison, '''da''' for a semidiminished unison, '''ri''' for a semiaugmented second, '''fe''' for a semidiminished fourth, '''si''' for a semiaugmented fifth, and '''li''' for a semiaugmented sixth. The remaining syllables flesh out the septimal and undecimal intervals which are not represented in 12edo.		The syllables '''do, re, mi, fa, so[l], la, ti''' have the same meaning as traditional major and perfect intervals. The names for minor intervals are also retained: '''ra, me, le, te''', as well as the augmented fourth, '''fi''', and diminished fifth, '''se'''. Some traditional names for chromatically-altered intervals appear here, but altered by a semisharp or semiflat, rather than a full sharp or flat: '''di''' for a semiaugmented unison, '''da''' for a semidiminished unison, '''ri''' for a semiaugmented second, '''fe''' for a semidiminished fourth, '''si''' for a semiaugmented fifth, and '''li''' for a semiaugmented sixth. The remaining syllables flesh out the septimal and undecimal intervals which are not represented in 12edo.

TallKite: /* Kite Giedraitis's solfege */

2024-08-03T08:54:23Z

Kite Giedraitis's solfege

← Older revision		Revision as of 08:54, 3 August 2024
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	==Kite Giedraitis's solfege==		==Kite Giedraitis's solfege==

	[[Kite Giedraitis\|Kite's]] solfege uses the conventional consonants D, R, M, F, S, L and T. It uses unconventional vowels. For each degree, the sequence runs [[wikipedia:Front_vowel\|front]] to [[wikipedia:Back_vowel\|back]] (i.e. bright to dim) -i -e -a -o -u for upmajor-major-mid-minor-downminor. Kite's [[24edo solfege]] is a subset of this solfege.		[[Kite Giedraitis\|Kite's]] solfege (not to be confused with the above-mentioned uniform solfege for 31edo, also by Kite) uses the conventional consonants D, R, M, F, S, L and T. It uses unconventional vowels. For each degree, the sequence runs [[wikipedia:Front_vowel\|front]] to [[wikipedia:Back_vowel\|back]] (i.e. bright to dim) -i -e -a -o -u for upmajor-major-mid-minor-downminor. Kite's [[24edo solfege]] is a subset of this solfege.
	{\| class="wikitable" style="text-align:center"		{\| class="wikitable" style="text-align:center"
	\|+		\|+

KingHyperio at 20:17, 10 July 2024

2024-07-10T20:17:36Z

← Older revision		Revision as of 20:17, 10 July 2024
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	=== Expanding the System ===		=== Expanding the System ===
	To expand into intervals that surpass these, such as ~~the A1 or~~ the ^A5, we will extend to Augmented, Diminished, Upaugmented, and Downdiminished intervals. The vowels for these are -ah (short a sound), -ih (for the short i in diminished), oy, and ow (for down) respectively. They work similarly to the others, and are first used in the second set of unisons, allowing the M7-A4 and d5-m2 perfect fifths and others of the sort to still use consistent vowels, as they show up in diatonic scales.		To expand into intervals that surpass these, such as the ^A5, we will extend to Augmented, Diminished, Upaugmented, and Downdiminished intervals. The vowels for these are -ah (short a sound), -ih (for the short i in diminished), oy, and ow (for down) respectively. They work similarly to the others, and are first used in the second set of unisons, allowing the M7-A4 and d5-m2 perfect fifths and others of the sort to still use consistent vowels, as they show up in diatonic scales.

	If intervals are used solely for their 3-limit role, such as the M2 or in some cases the M6, the names Ro and Lo may be used, for perfect second or perfect sixth, as Ra can be thought of to imply 10/9, while Ro would imply 9/8, similarly to Lo and 27/16. In other cases, Mo would be 32/27 and To would be 16/9. A situation where this naming scheme may be used would be in Harrison Major, P1 M2 ^M3 P4 P5 M6 ^M7 P8, where the M6 is used so that the ii chord has a perfect fifth, while the vi chord has a wolf fifth in order to be used as a "wolf tonic" to prevent tonicization.		If intervals are used solely for their 3-limit role, such as the M2 or in some cases the M6, the names Ro and Lo may be used, for perfect second or perfect sixth, as Ra can be thought of to imply 10/9, while Ro would imply 9/8, similarly to Lo and 27/16. In other cases, Mo would be 32/27 and To would be 16/9. A situation where this naming scheme may be used would be in Harrison Major, P1 M2 ^M3 P4 P5 M6 ^M7 P8, where the M6 is used so that the ii chord has a perfect fifth, while the vi chord has a wolf fifth in order to be used as a "wolf tonic" to prevent tonicization.

KingHyperio at 00:27, 19 February 2024

2024-02-19T00:27:56Z

← Older revision		Revision as of 00:27, 19 February 2024
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	\|-		\|-
	!1sns		!1sns
	\|Do ~~Di/~~Du		\|Do Du
	\|P1 ^1		\|P1 ^1
	\|0-1		\|0-1
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	\|-		\|-
	!8ves		!8ves
	\|Duh Do (Di)		\|Duh Do (Du)
	\|v8 P8 (^8)		\|v8 P8 (^8)
	\|30-31 (32)		\|30-31 (32)
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	\|Do		\|Do
	\|}		\|}
	The system shown preserved vowels in perfect fifths in any scale that only uses notes from meantone[7] modes, mohajira[7] modes, and substitutions of meantone intervals with corresponding septimal subminor or supermajor intervals, allowing for any diatonic type scale to be simple as easy to learn, as the inconsistencies of So-Ra and Te-Fo can be smoothed out by the fact that Ra can also be called Ro, for perfect second, or 9/8, and Fo is also Fe, as it's the "minor fourth", as 4/3 is tempered together with 27/20. These commas being tempered allows the system to preserve a surprising amount of consistency, being extremely easy to learn.		The system shown preserved vowels in perfect fifths in any scale that only uses notes from meantone[7] modes, mohajira[7] modes, and substitutions of meantone intervals with corresponding septimal subminor or supermajor intervals, allowing for any diatonic type scale to be simple as easy to learn, as the inconsistencies of So-Ra and Te-Fo can be smoothed out by the fact that Ra can also be called Ro, for perfect second, or 9/8, and Fo is also Fe, as it's the "minor fourth", as 4/3 is tempered together with 27/20. These commas being tempered allows the system to preserve a surprising amount of consistency, being extremely easy to learn. Du is used for the up unison because it helps consistency, is generally used as a quartertone in scales like Centaurus, and because it allows the also common augmented and upaugmented unisons to be named, with Da and Di.

	The system is built on this consistency, and preserves the standard minor intervals names, as well as -a as the standard major from La, and Ti as the strongest leading tone, here being the upmajor seventh. The remaining vowels of -uh for sub and -u for neutral are used because they correspond to the vowel sounds from their respective words.		The system is built on this consistency, and preserves the standard minor intervals names, as well as -a as the standard major from La, and Ti as the strongest leading tone, here being the upmajor seventh. The remaining vowels of -uh for sub and -u for neutral are used because they correspond to the vowel sounds from their respective words.

KingHyperio at 05:52, 18 February 2024

2024-02-18T05:52:31Z

← Older revision		Revision as of 05:52, 18 February 2024
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	circle of 5ths: '''Da''' Sa Ra La Ma Ta Pa/Sho Fro Flo No Tho Fo '''Do''' So Ro Lo Mo To Po/Fu '''Du''' Su Ru Lu Mu Tu Pu/Sha Fra Fla Na Tha Fa '''Da'''		circle of 5ths: '''Da''' Sa Ra La Ma Ta Pa/Sho Fro Flo No Tho Fo '''Do''' So Ro Lo Mo To Po/Fu '''Du''' Su Ru Lu Mu Tu Pu/Sha Fra Fla Na Tha Fa '''Da'''

			== Consistent Solfege ==
			{\| class="wikitable"
			![[31edo]]
			!solfege names
			![[Ups and downs notation\|ups and downs]] names
			!edosteps
			\|-
			!1sns
			\|Do Di/Du
			\|P1 ^1
			\|0-1
			\|-
			!2nds
			\|Ruh Re Ru Ra Ri
			\|vm2 m2 ~2 M2 ^M2
			\|2-6
			\|-
			!3rds
			\|Muh Me Mu Ma Mi
			\|vm3 m3 ~3 M3 ^M3
			\|7-11
			\|-
			!4ths
			\|Fuh Fo/Fe Fu
			\|v4 P4 ^4
			\|12-14
			\|-
			!tritones
			\|Fa/Suh Fi/Se
			\|A4/vd5 ^A4/d5
			\|15-16
			\|-
			!5ths
			\|Su So/Sa Si
			\|v5 P5 ^5
			\|17-19
			\|-
			!6ths
			\|Luh Le Lu La Li
			\|vm6 m6 ~6 M6 ^M6
			\|20-24
			\|-
			!7ths
			\|Tuh Te Tu Ta Ti
			\|vm7 m7 ~7 M7 ^M7
			\|25-29
			\|-
			!8ves
			\|Duh Do (Di)
			\|v8 P8 (^8)
			\|30-31 (32)
			\|}

			=== Example scales ===
			{\| class="wikitable"
			\|+
			!Major scale
			\|Do
			\|Ra
			\|Ma
			\|Fo
			\|So
			\|La
			\|Ta
			\|Do
			\|-
			!Minor scale
			\|Do
			\|Ra
			\|Me
			\|Fo
			\|So
			\|Le
			\|Te
			\|Do
			\|-
			!Upmajor scale
			\|Do
			\|Ra
			\|Mi
			\|Fo
			\|So
			\|Li
			\|Ti
			\|Do
			\|-
			!Downminor scale
			\|Do
			\|Ra
			\|Muh
			\|Fo
			\|So
			\|Luh
			\|Tuh
			\|Do
			\|-
			!Mid scale
			\|Do
			\|Ra
			\|Mu
			\|Fo
			\|So
			\|Lu
			\|Tu
			\|Do
			\|}
			The system shown preserved vowels in perfect fifths in any scale that only uses notes from meantone[7] modes, mohajira[7] modes, and substitutions of meantone intervals with corresponding septimal subminor or supermajor intervals, allowing for any diatonic type scale to be simple as easy to learn, as the inconsistencies of So-Ra and Te-Fo can be smoothed out by the fact that Ra can also be called Ro, for perfect second, or 9/8, and Fo is also Fe, as it's the "minor fourth", as 4/3 is tempered together with 27/20. These commas being tempered allows the system to preserve a surprising amount of consistency, being extremely easy to learn.

			The system is built on this consistency, and preserves the standard minor intervals names, as well as -a as the standard major from La, and Ti as the strongest leading tone, here being the upmajor seventh. The remaining vowels of -uh for sub and -u for neutral are used because they correspond to the vowel sounds from their respective words.

			=== Expanding the System ===
			To expand into intervals that surpass these, such as the A1 or the ^A5, we will extend to Augmented, Diminished, Upaugmented, and Downdiminished intervals. The vowels for these are -ah (short a sound), -ih (for the short i in diminished), oy, and ow (for down) respectively. They work similarly to the others, and are first used in the second set of unisons, allowing the M7-A4 and d5-m2 perfect fifths and others of the sort to still use consistent vowels, as they show up in diatonic scales.

			If intervals are used solely for their 3-limit role, such as the M2 or in some cases the M6, the names Ro and Lo may be used, for perfect second or perfect sixth, as Ra can be thought of to imply 10/9, while Ro would imply 9/8, similarly to Lo and 27/16. In other cases, Mo would be 32/27 and To would be 16/9. A situation where this naming scheme may be used would be in Harrison Major, P1 M2 ^M3 P4 P5 M6 ^M7 P8, where the M6 is used so that the ii chord has a perfect fifth, while the vi chord has a wolf fifth in order to be used as a "wolf tonic" to prevent tonicization.

	==Kite Giedraitis's solfege==		==Kite Giedraitis's solfege==

TallKite at 04:13, 8 October 2022

2022-10-08T04:13:16Z

← Older revision		Revision as of 04:13, 8 October 2022
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	==Uniform Solfege==		==Uniform Solfege==
	See [[Uniform ~~Solfege~~]] for a full explanation.		See [[Uniform solfege]] for a full explanation.
	{\| class="wikitable center-all"		{\| class="wikitable center-all"
	\|+		\|+

TallKite: major update

2022-10-05T11:45:05Z

major update

Show changes

TallKite: added edosteps columns

2022-08-31T11:03:12Z

added edosteps columns

← Older revision		Revision as of 11:03, 31 August 2022
Line 1:		Line 1:
	==Kite Giedraitis's solfege==		==Kite Giedraitis's solfege==

	[[Kite Giedraitis\|Kite's]] solfege is nicknamed "Do Re Me" for harmonics 8:9:10. It uses the conventional consonants D, R, M, F, S, L and T. It uses unconventional vowels. For each degree, the sequence runs [[wikipedia:Front_vowel\|front]] to [[wikipedia:Back_vowel\|back]] (i.e. bright to dim) -i -e -a -o -u for upmajor-major-mid-minor-downminor. Kite's [[24edo solfege]] is a subset of this solfege.		[[Kite Giedraitis\|Kite's]] solfege is nicknamed "Do Re Me" for harmonics 8:9:10. It uses the conventional consonants D, R, M, F, S, L and T. It uses unconventional vowels. For each degree, the sequence runs [[wikipedia:Front_vowel\|front]] to [[wikipedia:Back_vowel\|back]] (i.e. bright to dim) -i -e -a -o -u for upmajor-major-mid-minor-downminor. Kite's [[24edo solfege]] #1 is a subset of this solfege.
	{\| class="wikitable" style="text-align:center"		{\| class="wikitable" style="text-align:center"
	\|+		\|+
Line 7:		Line 7:
	!solfege names		!solfege names
	![[Ups and downs notation\|ups and downs]] names		![[Ups and downs notation\|ups and downs]] names
			!edosteps
	\|-		\|-
	!unisons		!unisons
	\|Do Da		\|Do Da
	\|P1 ^1		\|P1 ^1
			\|0-1
	\|-		\|-
	!2nds		!2nds
	\|Ru Ro Ra Re Ri		\|Ru Ro Ra Re Ri
	\|vm2 m2 ~2 M2 ^M2		\|vm2 m2 ~2 M2 ^M2
			\|2-6
	\|-		\|-
	!3rds		!3rds
	\|Mu Mo Ma Me Mi		\|Mu Mo Ma Me Mi
	\|vm3 m3 ~3 M3 ^M3		\|vm3 m3 ~3 M3 ^M3
			\|7-11
	\|-		\|-
	!4ths		!4ths
	\|Fu Fo Fa		\|Fu Fo Fa
	\|v4 P4 ^4		\|v4 P4 ^4
			\|12-14
	\|-		\|-
	!tritones		!tritones
	\|Fe/Su Fi/So		\|Fe/Su Fi/So
	\| A4/vd5 ^A4/d5		\| A4/vd5 ^A4/d5
			\|15-16
	\|-		\|-
	!5ths		!5ths
	\|Sa Se Si		\|Sa Se Si
	\|v5 P5 ^5		\|v5 P5 ^5
			\|17-19
	\|-		\|-
	!6ths		!6ths
	\|Lu Lo La Le Li		\|Lu Lo La Le Li
	\|vm6 m6 ~6 M6 ^M6		\|vm6 m6 ~6 M6 ^M6
			\|20-24
	\|-		\|-
	!7ths		!7ths
	\|Tu To Ta Te Ti		\|Tu To Ta Te Ti
	\|vm7 m7 ~7 M7 ^M7		\|vm7 m7 ~7 M7 ^M7
			\|25-29
	\|-		\|-
	!8ves		!8ves
	\|Du Do (Da)		\|Du Do (Da)
	\|v8 P8 (^8)		\|v8 P8 (^8)
			\|30-31 (32)
	\|}		\|}
	Beware: Mi, Fa, So, La and Ti all have new meanings!		Beware: Mi, Fa, So, La and Ti all have new meanings!
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	\|}		\|}

			===Learning suggestion===
			Even with many familiar consonants and a consistent vowel sequence, it can take a while to master 35 syllables. One might want to divide-and-conquer. Start with using this simple solfege:

			Da - Ra - Ma - Fa - Sa - La - Ta - Da

			Each syllable is a catch-all term. For example, Ra covers Ri, Re, Ra, Ro and Ru. Using this solfege helps with <u>un</u>learning the syllables Mi, Fa, So, La and Ti, which are still present but have a changed meaning.

			Once this is fully internalized, add in the other 4 vowels.
	===The circle of fifths===		===The circle of fifths===
	The 5 vowels create 5 chains of fifths. The 2 tritones with duplicate names each connect 2 pairs of chains. Thus there are only 3 fifths that don't rhyme:		The 5 vowels create 5 chains of fifths. The 2 tritones with duplicate names each connect 2 pairs of chains. Thus there are only 3 fifths that don't rhyme:
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	However going a 5th up from an aug or upaug 4th would go to an aug or upaug 8ve, which doesn't exist in this solfege. Therefore one must rename the 4th as a dim 5th, then go up to a minor 2nd. Thus Fe + 5th = Su + 5th = Ru. Dim 5ths may also need renaming: So + 4th = Fi + 4th = Ti.		However going a 5th up from an aug or upaug 4th would go to an aug or upaug 8ve, which doesn't exist in this solfege. Therefore one must rename the 4th as a dim 5th, then go up to a minor 2nd. Thus Fe + 5th = Su + 5th = Ru. Dim 5ths may also need renaming: So + 4th = Fi + 4th = Ti.

	~~=== Learning suggestion ===~~
	~~Even with many familiar consonants and a consistent vowel sequence, it can take a while to master 35 syllables. One might want to divide-and-conquer. Start with using this simple solfege:~~

	~~Da - Ra - Ma - Fa - Sa - La - Ta - Da~~

	Each syllable is a catch-all term. For example, Ra covers Ri, Re, Ra, Ro and Ru. Using this solfege helps with <u>un</u>learning the syllables Mi, Fa, So, La and Ti, which are still present but have a changed meaning.

	~~Once this is fully internalized, add in the other 4 vowels.~~


	==Andrew Heathwaite's solfege==		==Andrew Heathwaite's solfege==

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	!solfege names		!solfege names
	![[Ups and downs notation\|ups and downs]] names		![[Ups and downs notation\|ups and downs]] names
			!edosteps
	\|-		\|-
	! unisons		! unisons
	\| Do Di		\| Do Di
	\|P1 ^1		\|P1 ^1
			\|0-1
	\|-		\|-
	! 2nds		! 2nds
	\|Ro Ra Ru Re Ri		\|Ro Ra Ru Re Ri
	\|vm2 m2 ~2 M2 ^M2		\|vm2 m2 ~2 M2 ^M2
			\|2-6
	\|-		\|-
	!3rds		!3rds
	\|Ma Me Mu Mi Mo		\|Ma Me Mu Mi Mo
	\|vm3 m3 ~3 M3 ^M3		\|vm3 m3 ~3 M3 ^M3
			\|7-11
	\|-		\|-
	! 4ths		! 4ths
	\|Fe Fa Fu Fi		\|Fe Fa Fu Fi
	\| v4 P4 ^4 A4		\| v4 P4 ^4 A4
			\|12-15
	\|-		\|-
	!5ths		!5ths
	\|Se Su So (or Sol) Si		\|Se Su So (or Sol) Si
	\|d5 v5 P5 ^5		\|d5 v5 P5 ^5
			\|16-19
	\|-		\|-
	! 6ths		! 6ths
	\|Lo Le Lu La Li		\|Lo Le Lu La Li
	\|vm6 m6 ~6 M6 ^M6		\|vm6 m6 ~6 M6 ^M6
			\|20-24
	\|-		\|-
	!7ths		!7ths
	\|Ta Te Tu Ti To		\|Ta Te Tu Ti To
	\|vm7 m7 ~7 M7 ^M7		\|vm7 m7 ~7 M7 ^M7
			\|25-29
	\|-		\|-
	!8ves		!8ves
	\|Da Do (Di)		\|Da Do (Di)
	\|v8 P8 (^8)		\|v8 P8 (^8)
			\|30-31 (32)
	\|}		\|}
	See also: [[17edo Solfege]], [[22edo Solfege]], [[29edo solfege\|29edo Solfege]] and [[41edo solfege\|41edo Solfege]].		See also: [[17edo Solfege]], [[22edo Solfege]], [[29edo solfege\|29edo Solfege]] and [[41edo solfege\|41edo Solfege]].

TallKite: added a learning suggestion

2022-08-28T01:37:37Z

added a learning suggestion

← Older revision		Revision as of 01:37, 28 August 2022
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	==Kite Giedraitis's solfege==		==Kite Giedraitis's solfege==

	[[Kite Giedraitis\|Kite's]] solfege uses the conventional consonants D, R, M, F, S, L and T. It uses unconventional vowels. For each degree, the sequence runs [[wikipedia:Front_vowel\|front]] to [[wikipedia:Back_vowel\|back]] (i.e. bright to dim) -i -e -a -o -u for upmajor-major-mid-minor-downminor. Kite's 24edo solfege is a subset of this solfege.		[[Kite Giedraitis\|Kite's]] solfege is nicknamed "Do Re Me" for harmonics 8:9:10. It uses the conventional consonants D, R, M, F, S, L and T. It uses unconventional vowels. For each degree, the sequence runs [[wikipedia:Front_vowel\|front]] to [[wikipedia:Back_vowel\|back]] (i.e. bright to dim) -i -e -a -o -u for upmajor-major-mid-minor-downminor. Kite's [[24edo solfege]] is a subset of this solfege.
	{\| class="wikitable" style="text-align:center"		{\| class="wikitable" style="text-align:center"
	\|+		\|+
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	However going a 5th up from an aug or upaug 4th would go to an aug or upaug 8ve, which doesn't exist in this solfege. Therefore one must rename the 4th as a dim 5th, then go up to a minor 2nd. Thus Fe + 5th = Su + 5th = Ru. Dim 5ths may also need renaming: So + 4th = Fi + 4th = Ti.		However going a 5th up from an aug or upaug 4th would go to an aug or upaug 8ve, which doesn't exist in this solfege. Therefore one must rename the 4th as a dim 5th, then go up to a minor 2nd. Thus Fe + 5th = Su + 5th = Ru. Dim 5ths may also need renaming: So + 4th = Fi + 4th = Ti.

			=== Learning suggestion ===
			Even with many familiar consonants and a consistent vowel sequence, it can take a while to master 35 syllables. One might want to divide-and-conquer. Start with using this simple solfege:

			Da - Ra - Ma - Fa - Sa - La - Ta - Da

			Each syllable is a catch-all term. For example, Ra covers Ri, Re, Ra, Ro and Ru. Using this solfege helps with <u>un</u>learning the syllables Mi, Fa, So, La and Ti, which are still present but have a changed meaning.

			Once this is fully internalized, add in the other 4 vowels.


	==Andrew Heathwaite's solfege==		==Andrew Heathwaite's solfege==

TallKite: /* The circle of fifths */

2022-08-22T06:59:02Z

The circle of fifths

← Older revision		Revision as of 06:59, 22 August 2022
Line 2:		Line 2:

	[[Kite Giedraitis\|Kite's]] solfege uses the conventional consonants D, R, M, F, S, L and T. It uses unconventional vowels. For each degree, the sequence runs [[wikipedia:Front_vowel\|front]] to [[wikipedia:Back_vowel\|back]] (i.e. bright to dim) -i -e -a -o -u for upmajor-major-mid-minor-downminor. Kite's 24edo solfege is a subset of this solfege.		[[Kite Giedraitis\|Kite's]] solfege uses the conventional consonants D, R, M, F, S, L and T. It uses unconventional vowels. For each degree, the sequence runs [[wikipedia:Front_vowel\|front]] to [[wikipedia:Back_vowel\|back]] (i.e. bright to dim) -i -e -a -o -u for upmajor-major-mid-minor-downminor. Kite's 24edo solfege is a subset of this solfege.
	{\| class="wikitable"		{\| class="wikitable" style="text-align:center"
	\|+		\|+
	![[31edo]]		![[31edo]]
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	!tritones		!tritones
	\|Fe/Su Fi/So		\|Fe/Su Fi/So
	\|A4/vd5 ^A4/d5		\| A4/vd5 ^A4/d5
	\|-		\|-
	!5ths		!5ths
Line 44:		Line 44:
	\|v8 P8 (^8)		\|v8 P8 (^8)
	\|}		\|}
	Beware: M,i Fa, So, La and Ti all have new meanings!		Beware: Mi, Fa, So, La and Ti all have new meanings!

	=== Example scales ===		===Example scales===
	{\| class="wikitable"		{\| class="wikitable" style="text-align:center"
	\|+		\|+
	!Major scale		!Major scale
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	\|-		\|-
	!Mid scale		!Mid scale
	\|Do		\| Do
	\|Re		\|Re
	\|Ma		\|Ma
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	\|Se		\|Se
	\|La		\|La
	\|Ta		\| Ta
	\|Do		\|Do
	\|}		\|}

	=== The circle of fifths ===		===The circle of fifths===
	The 5 vowels create 5 chains of fifths. The 2 tritones with duplicate names each connect 2 pairs of chains. Thus there are only 3 fifths that don't rhyme:		The 5 vowels create 5 chains of fifths. The 2 tritones with duplicate names each connect 2 pairs of chains. Thus there are only 3 fifths that don't rhyme:

	* Do - Se (P1 to P5)		*Do - Se (P1 to P5)
	* Da - Si (^1 to ^5)		*Da - Si (^1 to ^5)
	* Du - Sa (v1 to v5)		*Du - Sa (v1 to v5)

	{\| class="wikitable"		{\| class="wikitable" style="text-align:center"
	\|+The 33 note names in circle-of-5ths order		\|+The 33 note names in circle-of-5ths order
	(read left-to-right, top-row-to-bottom-row)		(read left-to-right, top-row-to-bottom-row)
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	!5th		!5th
	!2nd		!2nd
	!6th		! 6th
	!3rd		!3rd
	!7th		!7th
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	\|So		\|So
	\|Ro		\|Ro
	\|Lo		\| Lo
	\|Mo		\| Mo
	\|To		\|To
	\|Fo		\|Fo
	\|Do		\|Do
	\|}		\|}Because the chains mostly connect up, it's fairly easy to find the note a 4th or 5th above any note. It always rhymes (except the three 5ths from D- to S-), and the consonant is as would be expected from conventional interval arithmetic. Thus Re plus a 4th is Se, Ro plus a 5th is Lo, etc. And in the example scales above, the 3rd, 6th and 7th always rhyme, as do the tonic and 4th, as do the 2nd and 5th.

	~~=== Adding/subtracting 4ths and 5ths ===~~
	~~As a result of~~ the ~~aforementioned~~ chains ~~connecting~~ up, it's fairly easy to find the note a 4th or 5th above any note. It always rhymes, and the consonant is as would be expected from conventional interval arithmetic. Thus Re plus a 4th is Se, Ro plus a 5th is Lo, etc. And in the example scales above, the 3rd, 6th and 7th always rhyme, as do the tonic, 2nd~~, 4th~~ and 5th.

	However going a 5th up from an aug or upaug 4th would go to an aug or upaug 8ve, which doesn't exist in this solfege. Therefore one must rename the 4th as a dim 5th, then go up to a minor 2nd. Thus Fe + 5th = Su + 5th = Ru. Dim 5ths may also need renaming: So + 4th = Fi + 4th = Ti.		However going a 5th up from an aug or upaug 4th would go to an aug or upaug 8ve, which doesn't exist in this solfege. Therefore one must rename the 4th as a dim 5th, then go up to a minor 2nd. Thus Fe + 5th = Su + 5th = Ru. Dim 5ths may also need renaming: So + 4th = Fi + 4th = Ti.
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	[[Andrew Heathwaite]]'s solfege is a subset of his [[41edo]] solfege. It expands on the conventional Do - Di/Ra - Re - Ri/Me - Mi - Fa - Fi/Se - So - Si/Le - La - Li/Te - Ti - Do. As a result there are 6 different vowel sequences.		[[Andrew Heathwaite]]'s solfege is a subset of his [[41edo]] solfege. It expands on the conventional Do - Di/Ra - Re - Ri/Me - Mi - Fa - Fi/Se - So - Si/Le - La - Li/Te - Ti - Do. As a result there are 6 different vowel sequences.
	{\| class="wikitable"		{\| class="wikitable" style="text-align:center"
	\|+		\|+
	![[31edo]]		![[31edo]]
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	![[Ups and downs notation\|ups and downs]] names		![[Ups and downs notation\|ups and downs]] names
	\|-		\|-
	!unisons		! unisons
	\|Do Di		\| Do Di
	\|P1 ^1		\|P1 ^1
	\|-		\|-
	!2nds		! 2nds
	\|Ro Ra Ru Re Ri		\|Ro Ra Ru Re Ri
	\|vm2 m2 ~2 M2 ^M2		\|vm2 m2 ~2 M2 ^M2
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	\|vm3 m3 ~3 M3 ^M3		\|vm3 m3 ~3 M3 ^M3
	\|-		\|-
	!4ths		! 4ths
	\|Fe Fa Fu		\|Fe Fa Fu Fi
	\|v4 P4 ^4		\| v4 P4 ^4 A4
	\|-
	~~!tritones~~
	~~\|Fi Se~~
	~~\|A4/vd5 ^~~A4~~/d5~~
	\|-		\|-
	!5ths		!5ths
	\|Su So (or Sol) Si		\|Se Su So (or Sol) Si
	\|v5 P5 ^5		\|d5 v5 P5 ^5
	\|-		\|-
	!6ths		! 6ths
	\|Lo Le Lu La Li		\|Lo Le Lu La Li
	\|vm6 m6 ~6 M6 ^M6		\|vm6 m6 ~6 M6 ^M6
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	'''da''' => '''su'''		'''da''' => '''su'''
	===Example scales===		===Example scales===
	{\| class="wikitable"		{\| class="wikitable" style="text-align:center"
	\|+		\|+
	!Major scale		!Major scale
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	\|Sol		\|Sol
	\|La		\|La
	\|Ti		\| Ti
	\|Do		\|Do
	\|-		\|-
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	!Downminor scale		!Downminor scale
	\|Do		\|Do
	\|Re		\| Re
	\|Ma		\|Ma
	\|Fa		\|Fa