Talk:41edo solfege: Difference between revisions
Created page with "== Possible expansions == The conventional solfege runs Do - Di/Ra - Re - Ri/Me - Mi - Fa - Fi/Se - Sol - Si/Le - La - Li/Te - Ti - Do. The many enharmonic equivalents provide..." |
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|Du | |Du | ||
|Dri | |Di or Dri | ||
|Dro | |Dro | ||
|Dra | |Dra | ||
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Mnemonic: the Dr- names have an "r" like the equivalent 2nds do. The VIv chord would be named La - Dro - Ma. If followed by a II chord, the melody Fra-Ra would become Dro-Ra, much better. | Mnemonic: the Dr- names have an "r" like the equivalent 2nds do. The VIv chord would be named La - Dro - Ma. If followed by a II chord, the melody Fra-Ra would become Dro-Ra, much better. | ||
However this is not enough to avoid awkward names. For example, the 3rd of the vIIIv chord is a vv#5 note named as a 6th, Flo. To get | However this is not enough to avoid awkward names. For example, the 3rd of the vIIIv chord is a vv#5 note named as a 6th, Flo. To get as much coverage as the conventional solfege, we would need 3 more aug intervals. We could use -k- for augmented: | ||
* aug 5ths: Ski Sko Ska Sku | * aug 5ths: Ski Sko Ska Sku | ||
* aug 2nds: Kri Kro Kra Kru | * aug 2nds: Kri Kro Kra Kru | ||
* aug 6ths: Kli Klo Kla Klu | * aug 6ths: Kli Klo Kla Klu | ||
The vIIIv chord would be named Mo Ski Lo. The 17 -a notes would run from dim 5th to aug 6th: | |||
Sha - Fra - Fla - Na - Tha - Fa - Da - Sa - Ra - La - Ma - Ta - Pa - Dra - Ska - Kra - Kla | |||
Almost every major chord could be spelled appropriately, as long as the root is one of the original 45 names. But bIIv7 lacks a vd8 name. To get all the chords, we would need 4 more dim intervals: | |||
* dim 8ves: Dwo Dwa Dwu Dwi | * dim 8ves: Dwo Dwa Dwu Dwi | ||
* dim 4ths: Fwo Fwa Fwu Fwi | * dim 4ths: Fwo Fwa Fwu Fwi | ||
* dim 7ths: Thwo Thwa Thwu Thwi | * dim 7ths: Thwo Thwa Thwu Thwi | ||
* dim 3rds: Nwo Nwa Nwu Nwi | * dim 3rds: Nwo Nwa Nwu Nwi | ||
{| class="wikitable" style="text-align:center" | {| class="wikitable" style="text-align:center" | ||
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|Dru | |Dru | ||
|Ri | |Ri | ||
|Nwo | |(Nwo) | ||
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|Ro | |Ro | ||
|Nwa | |(Nwa) | ||
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|Ra | |Ra | ||
|Nwu | |(Nwu) | ||
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|Ru | |Ru | ||
|Nwi | |(Nwi) | ||
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|Kru | |Kru | ||
|Mi | |Mi | ||
|Fwo | |(Fwo) | ||
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|Mo | |Mo | ||
|Fwa | |(Fwa) | ||
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|Ma | |Ma | ||
|Fwu | |(Fwu) | ||
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|Mu | |Mu | ||
|Fwi | |(Fwi) | ||
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|Sku | |Sku | ||
|Li | |Li | ||
|Thwo | |(Thwo) | ||
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|- | |- | ||
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|Lo | |Lo | ||
|Thwa | |(Thwa) | ||
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|- | |- | ||
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|La | |La | ||
|Thwu | |(Thwu) | ||
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|- | |- | ||
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|Lu | |Lu | ||
|Thwi | |(Thwi) | ||
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|- | |- | ||
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|Klu | |Klu | ||
|Ti | |Ti | ||
|Dwo | |(Dwo) | ||
|- | |- | ||
!37 | !37 | ||
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|To | |To | ||
|Dwa | |(Dwa) | ||
|- | |- | ||
!38 | !38 | ||
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|Ta | |Ta | ||
|Dwu | |(Dwu) | ||
|- | |- | ||
!39 | !39 | ||
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|Tu | |Tu | ||
|Dwi | |(Dwi) | ||
|- | |- | ||
!40 | !40 | ||
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We <u>could</u> do this, but <u>should</u> we? With 77 names, the solfege is harder to learn. With names like Nwo and Thwu, it's less singable. Such a complex solfege is more of a barrier than an aid. IMO such expansions shouldn't happen unless absolutely needed, say if perhaps 41edo becomes an extremely popular tuning rivaling 12edo. [[User:TallKite|TallKite]] ([[User talk:TallKite|talk]]) 01:33, 28 August 2022 (UTC) | We <u>could</u> do this, but <u>should</u> we? With 61 or 77 names, the solfege is harder to learn. With names like Nwo and Thwu, it's less singable. Such a complex solfege is more of a barrier than an aid. IMO such expansions shouldn't happen unless absolutely needed, say if perhaps 41edo becomes an extremely popular tuning rivaling 12edo. [[User:TallKite|TallKite]] ([[User talk:TallKite|talk]]) 01:33, 28 August 2022 (UTC) | ||
Latest revision as of 22:30, 31 August 2022
Possible expansions
The conventional solfege runs Do - Di/Ra - Re - Ri/Me - Mi - Fa - Fi/Se - Sol - Si/Le - La - Li/Te - Ti - Do. The many enharmonic equivalents provide flexibility in naming. My (Kite's) 41edo solfege has only 4 equivalents, resulting in awkward names like a VIv chord being La - Fra - Ma. There could be 4 new syllables for the aug unisons:
| name | Do | Da | Du | Di or Dri | Dro | Dra | Dru |
|---|---|---|---|---|---|---|---|
| interval | v1 | P1 | ^1 | ^^1 | vA1 | A1 | ^A1 |
| equivalent | Fro | Fra | Fru | Ri | |||
Mnemonic: the Dr- names have an "r" like the equivalent 2nds do. The VIv chord would be named La - Dro - Ma. If followed by a II chord, the melody Fra-Ra would become Dro-Ra, much better.
However this is not enough to avoid awkward names. For example, the 3rd of the vIIIv chord is a vv#5 note named as a 6th, Flo. To get as much coverage as the conventional solfege, we would need 3 more aug intervals. We could use -k- for augmented:
- aug 5ths: Ski Sko Ska Sku
- aug 2nds: Kri Kro Kra Kru
- aug 6ths: Kli Klo Kla Klu
The vIIIv chord would be named Mo Ski Lo. The 17 -a notes would run from dim 5th to aug 6th:
Sha - Fra - Fla - Na - Tha - Fa - Da - Sa - Ra - La - Ma - Ta - Pa - Dra - Ska - Kra - Kla
Almost every major chord could be spelled appropriately, as long as the root is one of the original 45 names. But bIIv7 lacks a vd8 name. To get all the chords, we would need 4 more dim intervals:
- dim 8ves: Dwo Dwa Dwu Dwi
- dim 4ths: Fwo Fwa Fwu Fwi
- dim 7ths: Thwo Thwa Thwu Thwi
- dim 3rds: Nwo Nwa Nwu Nwi
| 1sns | 2nds | 3rds | 4ths | 5ths | 6ths | 7ths | 8ves | |
|---|---|---|---|---|---|---|---|---|
| 0 | Da | |||||||
| 1 | Du | |||||||
| 2 | Dri | Fro | ||||||
| 3 | Dro | Fra | ||||||
| 4 | Dra | Fru | ||||||
| 5 | Dru | Ri | (Nwo) | |||||
| 6 | Ro | (Nwa) | ||||||
| 7 | Ra | (Nwu) | ||||||
| 8 | Ru | (Nwi) | ||||||
| 9 | Kri | No | ||||||
| 10 | Kro | Na | ||||||
| 11 | Kra | Nu | ||||||
| 12 | Kru | Mi | (Fwo) | |||||
| 13 | Mo | (Fwa) | ||||||
| 14 | Ma | (Fwu) | ||||||
| 15 | Mu | (Fwi) | ||||||
| 16 | Fo | |||||||
| 17 | Fa | |||||||
| 18 | Fu | |||||||
| 19 | Fi | Sho | ||||||
| 20 | Po | Sha | ||||||
| 21 | Pa | Shu | ||||||
| 22 | Pu | Si | ||||||
| 23 | So | |||||||
| 24 | Sa | |||||||
| 25 | Su | |||||||
| 26 | Ski | Flo | ||||||
| 27 | Sko | Fla | ||||||
| 28 | Ska | Flu | ||||||
| 29 | Sku | Li | (Thwo) | |||||
| 30 | Lo | (Thwa) | ||||||
| 31 | La | (Thwu) | ||||||
| 32 | Lu | (Thwi) | ||||||
| 33 | Kli | Tho | ||||||
| 34 | Klo | Tha | ||||||
| 35 | Kla | Thu | ||||||
| 36 | Klu | Ti | (Dwo) | |||||
| 37 | To | (Dwa) | ||||||
| 38 | Ta | (Dwu) | ||||||
| 39 | Tu | (Dwi) | ||||||
| 40 | Do | |||||||
| 41 | Da |
We could do this, but should we? With 61 or 77 names, the solfege is harder to learn. With names like Nwo and Thwu, it's less singable. Such a complex solfege is more of a barrier than an aid. IMO such expansions shouldn't happen unless absolutely needed, say if perhaps 41edo becomes an extremely popular tuning rivaling 12edo. TallKite (talk) 01:33, 28 August 2022 (UTC)