User:KingHyperio - Revision history

KingHyperio at 23:10, 17 March 2026

2026-03-17T23:10:17Z

← Older revision		Revision as of 23:10, 17 March 2026
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	Hey, I’m ~~Hyperio~~. I’m most knowledgeable about [[31edo]], and I’ve done work in [[17edo\|17]]/[[34edo\|34d]] and [[41edo\|41]]. I’m currently learning about ethnomusicology.		Hey, I’m Alex. I’m most knowledgeable about [[31edo]], and I’ve done work in [[17edo\|17]]/[[34edo\|34d]] and [[41edo\|41]]. I’m currently learning about ethnomusicology.

	My website is 31edo.com.		My website is 31edo.com.

KingHyperio at 21:46, 17 July 2024

2024-07-17T21:46:22Z

← Older revision		Revision as of 21:46, 17 July 2024
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	Hey, I’m Hyperio. I’m most knowledgeable about [[31edo]], and I’ve done work in [[17edo\|17]]/[[34edo\|34d]] and [[41edo\|41]]. I’m currently learning about ethnomusicology.		Hey, I’m Hyperio. I’m most knowledgeable about [[31edo]], and I’ve done work in [[17edo\|17]]/[[34edo\|34d]] and [[41edo\|41]]. I’m currently learning about ethnomusicology.

	My website is 31edo.com		My website is 31edo.com.

	== 31edo Solfege ==		== 31edo Solfege ==

KingHyperio at 21:43, 17 July 2024

2024-07-17T21:43:50Z

← Older revision		Revision as of 21:43, 17 July 2024
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	Hey, I’m Hyperio. I’m most knowledgeable about [[31edo]], and I’ve done work in [[17edo\|17]]/[[34edo\|34d]] and [[41edo\|41]]. I’m currently learning about ethnomusicology.		Hey, I’m Hyperio. I’m most knowledgeable about [[31edo]], and I’ve done work in [[17edo\|17]]/[[34edo\|34d]] and [[41edo\|41]]. I’m currently learning about ethnomusicology.

			My website is 31edo.com

	== 31edo Solfege ==		== 31edo Solfege ==

KingHyperio at 21:43, 17 July 2024

2024-07-17T21:43:22Z

← Older revision		Revision as of 21:43, 17 July 2024
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	Hey, I’m Hyperio. I’m most knowledgeable about ~~EDO theory, with~~ [[31edo]] ~~as my main system for music creation~~ and ~~theoretical exploration. Others that I am interested~~ in ~~include~~ [[17edo\|17]]/[[34edo\|34d]] and [[41edo\|41]]. I’m currently learning about ethnomusicology.		Hey, I’m Hyperio. I’m most knowledgeable about [[31edo]], and I’ve done work in [[17edo\|17]]/[[34edo\|34d]] and [[41edo\|41]]. I’m currently learning about ethnomusicology.

	== 31edo Solfege ==		== 31edo Solfege ==

KingHyperio at 20:43, 13 March 2024

2024-03-13T20:43:41Z

← Older revision		Revision as of 20:43, 13 March 2024
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	== 31edo Functional Harmony ==		== 31edo Functional Harmony ==
	My personal view of harmony in 12edo is that each note in a key has a role in any chord, which I use the names Stable, Modal, Hollow, Unstable, Leading, and Odd for. Stable describes the P1 and P5, Modal describes the m3 and M3, Hollow describes the M6 and m7, Unstable describes the M2 and P4, Leading describes the m6 and M7, and Odd describes the m2 and A4. The summary is that a chord having unstable and leading notes in it makes it a Dominant, a chord having just unstable notes in it makes it a Subdominant, a chord having just leading notes in it makes it a Mediant, and a chord having neither makes it a Tonic or Substitute Tonic. It works best for triads and tetrads, and can extend reasonably well to 31edo, and I use the follow classifications for the notes: S: P1,P5, M: s3,m3,M3,S3, H: M6,S6,s7,m7, U: ~2,M2,S2,~3,v4,P4,^4~~,~6,~7~~, L: s6,m6,M7,S7, O: ^1,s2,m2,A4,d5,v5,^5,v8. Some notes, like the ~2 and ^4, can change roles depending on the chord, but in general the system works well. This is useful when trying to compose using microtonal scales in 31, so a table below will list some important chords (mainly triads) for each role (O means Orwell tetrad, h means harmonic):		My personal view of harmony in 12edo is that each note in a key has a role in any chord, which I use the names Stable, Modal, Hollow, Unstable, Leading, and Odd for. Stable describes the P1 and P5, Modal describes the m3 and M3, Hollow describes the M6 and m7, Unstable describes the M2 and P4, Leading describes the m6 and M7, and Odd describes the m2 and A4. The summary is that a chord having unstable and leading notes in it makes it a Dominant, a chord having just unstable notes in it makes it a Subdominant, a chord having just leading notes in it makes it a Mediant, and a chord having neither makes it a Tonic or Substitute Tonic. It works best for triads and tetrads, and can extend reasonably well to 31edo, and I use the follow classifications for the notes: S: P1,P5, M: s3,m3,M3,S3, H: ~6,M6,S6,s7,m7,~7, U: ~2,M2,S2,~3,v4,P4,^4, L: s6,m6,M7,S7, O: ^1,s2,m2,A4,d5,v5,^5,v8. Some notes, like the ~2 and ^4, can change roles depending on the chord, but in general the system works well. This is useful when trying to compose using microtonal scales in 31, so a table below will list some important chords (mainly triads) for each role (O means Orwell tetrad, h means harmonic):
	{\| class="wikitable"		{\| class="wikitable"
	\|+Example Scales		\|+Example Scales
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	\|-		\|-
	!Squares[8] 5		!Squares[8] 5
	\|IS		\|IS, tIIIS(#5), dVIS(#5)**
	\|In**, tIIIS(#5)~~, dVIn, dVIS~~, dVIS(#5)		\|In***, dVIn, dVIS
	\|dbIIsn7, dIIIS(#5), tIIIs, dbVIS(#5), dVIs, ~~dVIS~~(#5)		\|dbIIsn7, dIIIS(#5), tIIIs, dbVIS(#5), dVIs, tVIIS(#5)
	\|IS(#5), dbIIn, tIIIs, tIIIn		\|IS(#5), dbIIn, tIIIs, tIIIn
	\|-		\|-
	!Dylathian		!Dylathian
	\|I(v5)***, I(x5), IIIO		\|I(v5)****, I(x5), IIIO
	\|Isus2(v5)****, Isusv4(v5), IIsus2(v5), IIsusv4(v5), dVsS6(^5), tVIsS6(^5), tVIsusv4(v5)		\|Isus2(v5)*****, Isusv4(v5), IIsus2(v5), IIsusv4(v5), dVsS6(^5), tVIsS6(^5), tVIsusv4(v5)
	\|IIsS6(^5), dIV(v5), dIVsus2(v5), dIVsusv4(v5), dVIO, tVIIsS6(^5)		\|IIsS6(^5), dIV(v5), dIVsus2(v5), dIVsusv4(v5), dVIO, tVIIsS6(^5)
	\|tVIsus2(v5)		\|tVIsus2(v5)
	\|-		\|-
	!Harrison Major		!Harrison Major
	\|IS, VIm(^5)*****		\|IS, VIm(^5)******
	\|IIm, IV		\|IIm, IV
	\|IImS6, VS, tVIIs(vb5)		\|IImS6, VS, tVIIs(vb5)
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	!Mothra[11]		!Mothra[11]
	\|IS9, dVs7(bb5), tVIs7		\|IS9, dVs7(bb5), tVIs7
	\|IIs7, tIIS(''add2'')******, dIVS6, VIs7(bb5), dIs7		\|IIs7, tIIS(''add2'')*******, dIVS6, VIs7(bb5), dIs7
	\|VSs7, tVIIs7(bb5)		\|VSs7, tVIIs7(bb5)
	\|tIIIs(''add4'')		\|tIIIs(''add4'')
	\|-		\|-
	!Greeley[8] 8		!Greeley[8] 8
	\|IsM6n7$*******, Is(vb5), VIm(vb5)		\|IsM6n7$********, Is(vb5), VIm(vb5)
	\|dbIII+(#3), tIII<sup>o</sup>		\|dbIII+(#3), tIII<sup>o</sup>
	\|tVm(vb5), dVIIsM6n7$, dVIIs(vb5)		\|tVm(vb5), dVIIsM6n7$, dVIIs(vb5)
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	<nowiki>*:</nowiki> The notation here is a bit strange. no3 says that there's no 3 in the chord, not no 3rd harmonic. This only comes up for the 3rd and 5th harmonics, for the rest the harmonic name matches the position in the chord. Also, in many of these extended chords, the super eleven will act as an Odd, not Unstable interval, like a #11.		<nowiki>*:</nowiki> The notation here is a bit strange. no3 says that there's no 3 in the chord, not no 3rd harmonic. This only comes up for the 3rd and 5th harmonics, for the rest the harmonic name matches the position in the chord. Also, in many of these extended chords, the super eleven will act as an Odd, not Unstable interval, like a #11.

	<nowiki>**:</nowiki> This chord ~~acts sort of like~~ a ~~sus chord~~, ~~"resolving" to~~ a ~~sub or super chord on~~ the ~~same root~~.		<nowiki>**:</nowiki> This chord can be played as a slide, and isn't used as a tonic is the standard way.

	<nowiki>***:</nowiki> ~~These chords are called Delta Rational chords, and chords~~ of ~~this variety make up~~ a ~~significant portion of Oneirotonic chords. Specifically major v5 chords often have an add2. The major x5~~ chord ~~is treated as tonic because the v6 acts as a thirteenth harmonic~~, ~~mimicking~~ a ~~perfect fifth in a major triad~~.		<nowiki>***:</nowiki> This chord acts sort of like a sus chord, "resolving" to a sub or super chord on the same root.

	<nowiki>****:</nowiki> These ~~sus~~ chords ~~approximate (within about~~ a ~~cent) 19/17/13 utonal and 13:17:19 otonal~~ chords.		<nowiki>****:</nowiki> These chords are called Delta Rational chords, and chords of this variety make up a significant portion of Oneirotonic chords. Specifically major v5 chords often have an add2. The major x5 chord is treated as tonic because the v6 acts as a thirteenth harmonic, mimicking a perfect fifth in a major triad.

	<nowiki>*****:</nowiki> ~~This is~~ a ~~"wolf tonic", with all tonic components but a superfifth in a scale that has mostly perfect fifths, so it prevents tonicization of the sixth,~~ and ~~makes it clear that there's still movement to go to get to the real tonic~~.		<nowiki>*****:</nowiki> These sus chords approximate (within about a cent) 19/17/13 utonal and 13:17:19 otonal chords.

	<nowiki>******:</nowiki> ~~The italics are purely instructional~~, ~~meaning~~ that the ~~added note doesn~~'~~t affect the role. This applies~~ to ~~many other chords in this scale, with some s7(bb5) chords able~~ to ~~be reduced~~ to ~~Orgone Triads for consistency without affecting anything~~.		<nowiki>******:</nowiki> This is a "wolf tonic", with all tonic components but a superfifth in a scale that has mostly perfect fifths, so it prevents tonicization of the sixth, and makes it clear that there's still movement to go to get to the real tonic.

	<nowiki>*******:</nowiki> $ here signifies a shell voicing. no5 can also be used, though in long chord names like this $ is cleaner. Additionally, in this scale, the b2 acts as a leading tone due to the absence of any remote fifth.		<nowiki>*******:</nowiki> The italics are purely instructional, meaning that the added note doesn't affect the role. This applies to many other chords in this scale, with some s7(bb5) chords able to be reduced to Orgone Triads for consistency without affecting anything.

			<nowiki>********:</nowiki> $ here signifies a shell voicing. no5 can also be used, though in long chord names like this $ is cleaner. Additionally, in this scale, the b2 acts as a leading tone due to the absence of any remote fifth, and the ~6 generally acts as an unstable note.

	== 31edo Keyboard Setup ==		== 31edo Keyboard Setup ==

KingHyperio at 01:36, 22 February 2024

2024-02-22T01:36:50Z

← Older revision		Revision as of 01:36, 22 February 2024
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	Hey, I’m Hyperio. I’m most knowledgeable about EDO theory, with [[31edo]] as my main system for music creation and theoretical exploration. Others that I am interested in include [[17edo\|17]]/[[34edo\|34d]], and [[41edo\|41]]. I’m currently learning about ethnomusicology.		Hey, I’m Hyperio. I’m most knowledgeable about EDO theory, with [[31edo]] as my main system for music creation and theoretical exploration. Others that I am interested in include [[17edo\|17]]/[[34edo\|34d]] and [[41edo\|41]]. I’m currently learning about ethnomusicology.

	== 31edo Solfege ==		== 31edo Solfege ==
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	[https://docs.google.com/document/d/1vQeokmlbiHhQC5oU0_KJopl1G247QpRYg1tZu51Du1U/edit?usp=sharing 31edo Chord Catalog]		[https://docs.google.com/document/d/1vQeokmlbiHhQC5oU0_KJopl1G247QpRYg1tZu51Du1U/edit?usp=sharing 31edo Chord Catalog]

			== Subpages ==
			{{Special:PrefixIndex/{{FULLPAGENAME}}/}}

KingHyperio at 19:24, 20 February 2024

2024-02-20T19:24:06Z

← Older revision		Revision as of 19:24, 20 February 2024
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	\|-		\|-
	!Mothra[11]		!Mothra[11]
	\|IS9, ~~dVs7sus~~(t4)$, tVIs7		\|IS9, dVs7(bb5), tVIs7
	\|IIs7, tIIS(''add2''), dIVS6, VIs7(bb5), dIs7		\|IIs7, tIIS(''add2'')******, dIVS6, VIs7(bb5), dIs7
	\|VSs7, tVIIs7(bb5)		\|VSs7, tVIIs7(bb5)
	\|tIIIs(''add4'')		\|tIIIs(''add4'')
	\|-		\|-
	!Greeley[8] 8		!Greeley[8] 8
	\|IsM6n7$******, Is(vb5), VIm(vb5)		\|IsM6n7$*******, Is(vb5), VIm(vb5)
	\|dbIII+(#3), tIII<sup>o</sup>		\|dbIII+(#3), tIII<sup>o</sup>
	\|tVm(vb5), dVIIsM6n7$, dVIIs(vb5)		\|tVm(vb5), dVIIsM6n7$, dVIIs(vb5)
Line 197:		Line 197:
	<nowiki>*****:</nowiki> This is a "wolf tonic", with all tonic components but a superfifth in a scale that has mostly perfect fifths, so it prevents tonicization of the sixth, and makes it clear that there's still movement to go to get to the real tonic.		<nowiki>*****:</nowiki> This is a "wolf tonic", with all tonic components but a superfifth in a scale that has mostly perfect fifths, so it prevents tonicization of the sixth, and makes it clear that there's still movement to go to get to the real tonic.

	<nowiki>******:</nowiki> $ here signifies a shell voicing. no5 can also be used, though in long chord names like this $ is cleaner. Additionally, in this scale, the b2 acts as a leading tone due to the absence of any remote fifth.		<nowiki>******:</nowiki> The italics are purely instructional, meaning that the added note doesn't affect the role. This applies to many other chords in this scale, with some s7(bb5) chords able to be reduced to Orgone Triads for consistency without affecting anything.

			<nowiki>*******:</nowiki> $ here signifies a shell voicing. no5 can also be used, though in long chord names like this $ is cleaner. Additionally, in this scale, the b2 acts as a leading tone due to the absence of any remote fifth.

	== 31edo Keyboard Setup ==		== 31edo Keyboard Setup ==

KingHyperio at 19:21, 20 February 2024

2024-02-20T19:21:26Z

← Older revision		Revision as of 19:21, 20 February 2024
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	\|		\|
	\|		\|
			\|-
			!Mothra[11]
			\|IS9, dVs7sus(t4)$, tVIs7
			\|IIs7, tIIS(''add2''), dIVS6, VIs7(bb5), dIs7
			\|VSs7, tVIIs7(bb5)
			\|tIIIs(''add4'')
	\|-		\|-
	!Greeley[8] 8		!Greeley[8] 8

KingHyperio at 00:26, 19 February 2024

2024-02-19T00:26:50Z

← Older revision		Revision as of 00:26, 19 February 2024
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	\|-		\|-
	!1sns		!1sns
	\|Do Di		\|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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	\|}		\|}
	===Additional Information===		===Additional Information===
	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, except for So-Ra and Te-Fo, inconsistencies which already come from the standard solfege system.		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, except for So-Ra and Te-Fo, inconsistencies which already come from the standard solfege system. 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 23:14, 17 February 2024

2024-02-17T23:14:46Z

← Older revision		Revision as of 23:14, 17 February 2024
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	\|-		\|-
	!4ths		!4ths
	\|Fuh Fo Fu		\|Fuh Fo/Fe Fu
	\|v4 P4 ^4		\|v4 P4 ^4
	\|12-14		\|12-14
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	\|-		\|-
	!5ths		!5ths
	\|Su So Si		\|Su So/Sa Si
	\|v5 P5 ^5		\|v5 P5 ^5
	\|17-19		\|17-19
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	\|-		\|-
	!Harrison Major		!Harrison Major
	\|IS, VIm(^5)		\|IS, VIm(^5)*****
	\|IIm, IV		\|IIm, IV
	\|IImS6, VS, tVIIs(vb5)		\|IImS6, VS, tVIIs(vb5)
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	\|-		\|-
	!Greeley[8] 8		!Greeley[8] 8
	\|IsM6n7$*****, Is(vb5), VIm(vb5)		\|IsM6n7$******, Is(vb5), VIm(vb5)
	\|dbIII+(#3), tIII<sup>o</sup>		\|dbIII+(#3), tIII<sup>o</sup>
	\|tVm(vb5), dVIIsM6n7$, dVIIs(vb5)		\|tVm(vb5), dVIIsM6n7$, dVIIs(vb5)
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	\|IIIm		\|IIIm
	\|}		\|}
	<nowiki>*:</nowiki> The notation here is a bit strange. no3 says that there's no 3 in the chord, not no 3rd harmonic. This only comes up for the 3rd and 5th harmonics, for the rest the harmonic name matches the position in the chord.		<nowiki>*:</nowiki> The notation here is a bit strange. no3 says that there's no 3 in the chord, not no 3rd harmonic. This only comes up for the 3rd and 5th harmonics, for the rest the harmonic name matches the position in the chord. Also, in many of these extended chords, the super eleven will act as an Odd, not Unstable interval, like a #11.

	<nowiki>**:</nowiki> This chord acts sort of like a sus chord, "resolving" to a sub or super chord on the same root.		<nowiki>**:</nowiki> This chord acts sort of like a sus chord, "resolving" to a sub or super chord on the same root.

	<nowiki>***:</nowiki> These chords are called Delta Rational chords, and chords of this variety make up a significant portion of Oneirotonic chords. Specifically major v5 chords often have an add2.		<nowiki>***:</nowiki> These chords are called Delta Rational chords, and chords of this variety make up a significant portion of Oneirotonic chords. Specifically major v5 chords often have an add2. The major x5 chord is treated as tonic because the v6 acts as a thirteenth harmonic, mimicking a perfect fifth in a major triad.

	<nowiki>****:</nowiki> These sus chords approximate (~~extremely closely~~) 19/17/13 utonal and 13:17:19 otonal chords.		<nowiki>****:</nowiki> These sus chords approximate (within about a cent) 19/17/13 utonal and 13:17:19 otonal chords.

	<nowiki>*****:</nowiki> $ here signifies a shell voicing. no5 can also be used, though in long chord names like this $ is cleaner. Additionally, in this scale, the b2 acts as a leading tone due to the absence of any remote fifth.		<nowiki>*****:</nowiki> This is a "wolf tonic", with all tonic components but a superfifth in a scale that has mostly perfect fifths, so it prevents tonicization of the sixth, and makes it clear that there's still movement to go to get to the real tonic.

			<nowiki>******:</nowiki> $ here signifies a shell voicing. no5 can also be used, though in long chord names like this $ is cleaner. Additionally, in this scale, the b2 acts as a leading tone due to the absence of any remote fifth.

	== 31edo Keyboard Setup ==		== 31edo Keyboard Setup ==