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WORK IN PROGRESS
{{Mbox|type=notice|text=WORK IN PROGRESS}}
{{Distinguish|Uniform solfege}}


'''Universal solfege'''{{idiosyncratic}} was invented by [[User:Nick Vuci|Nick Vuci]]. It builds on [[Margo Schulter]]'s [https://www.bestii.com/~mschulter/IntervalSpectrumRegions.txt "Regions of the Interval Spectrum"] to create a systematic solfege which can be applied to a variety of microtonal scales.


The principle is that we can divide the interval spectrum into discrete areas which can then be used to take subsets for most microtonal scales we can imagine (although it works best with scales that have around 5-9 notes). It's not an exhaustive solution but a practical and practicible one.


Universal Solfege was invented by [[User:Nick Vuci|Nick Vuci]]. It builds on [[Margo Schulter|Margo Schulter's]] [https://www.bestii.com/~mschulter/IntervalSpectrumRegions.txt "Regions of the Interval Spectrum"] to create a systematic solfege which can be applied to a variety of microtonal scales.  
While the chart gives solfege syllables for 59 distinct intervals, the entire gamut is not meant to be used in one instance. Instead it is meant to be used via selection of a subset relevant to a main scale.


The principle is that we can divide the interval spectrum into discreet areas which can then be used to take subsets for most microtonal scales we can imagine. It's not an exhaustive solution but a practical and practicible one.  
When using MOS, the system can be used in conjunction with "hexachords" to create a microtonal "hexachordal solfeggio." (Of course, "hexachord" is the common term but here it is insufficient since the set may contain more or less than 6 notes depending on the MOS.)


While the chart gives solfege syllables for 59 distinct intervals, the entire gamut is not meant to be used in one instance. Instead it is meant to be used via selection of a subset relevant to a main scale. 
Finally, to quote Schulter:


When using MOS, the system can be used in conjunction with "hexachords" to create a microtonal "hexachordal solfeggio." (Of course, "hexachord" is the common term but here it is insufficient since the set many contain more or less than 6 notes depending on the MOS.)
<blockquote>A main caution is that the borders are inevitably "fuzzy," so that one region shades into another and suggested values in cents are more illustrative than definitive.<ref>https://www.bestii.com/~mschulter/IntervalSpectrumRegions.txt</ref></blockquote>


Finally, to quote Schulter: <blockquote>
This means that ultimately you should define the intervals as you hear them and as they function to you, not necessarily as they strictly fall on this chart. If a scale contains an interval that is 259 cents, but you hear it as a minor third in context, then give it the solfege syllable of a minor third instead of a semifourth.  
A main caution is that the borders are inevitably "fuzzy," so that one region shades into another and suggested values in cents are more illustrative than definitive.<ref>https://www.bestii.com/~mschulter/IntervalSpectrumRegions.txt</ref> </blockquote>This means that ultimately you should define the intervals as you hear them and as they function to you, not necessarily as they strictly fall on this chart. If a scale contains an interval that is 259 cents, but you hear it as a minor third in context, then give it the solfege syllable of a minor third instead of a semifourth.  


Furthermore, if desired the middle range of each category (distinguished in bold) may be used primarily if finer subdivisions aren't required for a scale.
== Full gamut ==
A chart below lays things out:
A chart below lays things out:
{| class="wikitable"
{| class="wikitable"
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|'''Middle'''
|'''Middle'''
|'''695-709'''
|'''695-709'''
|'''Fim'''
|'''Fi'''
|'''fɪ'''
|'''fɪ'''
|-
|-
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|}
|}


The Unison and the Octave (ie the "tonic") is always denoted with "A." (IPA: a)
The unison and the octave (i.e. the "tonic") is always denoted with "A." (IPA: a)


For the main intervals which do not have major or minor forms, we give the following syllables:
For the main intervals which do not have major or minor forms, we give the following syllables:
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** "Twe" for semitwelfth  
** "Twe" for semitwelfth  


== Examples ==
We will now show some examples of how this system can be used in practice.   
We will now show some examples of how this system can be used in practice.   


=== 12edo diatonic (major mode) ===
{| class="wikitable"
{| class="wikitable"
! colspan="3" |<nowiki>12edo 5L2s 5|1</nowiki>
! colspan="3" |<nowiki>12edo 5L2s 5|1</nowiki>
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|Octave
|Octave
|}
|}
=== 31edo diatonic (major mode) ===
{| class="wikitable"
{| class="wikitable"
! colspan="3" |<nowiki>31edo 5L2s 5|1</nowiki>
! colspan="3" |<nowiki>31edo 5L2s 5|1</nowiki>
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|Octave
|Octave
|}
|}
=== 31edo mosh (bish mode) ===
{| class="wikitable"
{| class="wikitable"
! colspan="3" |<nowiki>31edo 3L4s 3|3</nowiki>
! colspan="3" |<nowiki>31edo 3L4s 3|3</nowiki>
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|Octave
|Octave
|}
|}
=== 24edo mosh (bish mode) ===
{| class="wikitable"
{| class="wikitable"
|+
|+
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|Octave
|Octave
|}
|}
=== 24edo manual (medial mode) ===
{| class="wikitable"
{| class="wikitable"
! colspan="3" |<nowiki>24edo 4L1s 2|2</nowiki>
! colspan="3" |<nowiki>24edo 4L1s 2|2</nowiki>
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|Octave
|Octave
|}
|}
=== 19edo manual (medial mode) ===
{| class="wikitable"
{| class="wikitable"
! colspan="3" |<nowiki>19edo 4L1s 2|2</nowiki>
! colspan="3" |<nowiki>19edo 4L1s 2|2</nowiki>
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|Octave
|Octave
|}
|}
=== 19edo diatonic (major mode) ===
{| class="wikitable"
{| class="wikitable"
! colspan="3" |<nowiki>19edo 5L2s 5|1</nowiki>
! colspan="3" |<nowiki>19edo 5L2s 5|1</nowiki>
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|Octave
|Octave
|}
|}
=== Harmonics 8::16 ===
{| class="wikitable"
{| class="wikitable"
! colspan="3" |Harmonics 8::16
! colspan="3" |Harmonics 8::16
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|Octave
|Octave
|}
|}
=== 13edo oneirotonic (Celephaïsian mode) ===
{| class="wikitable"
{| class="wikitable"
|+
|+
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|Major Seventh
|Major Seventh
|}
|}
== References ==
<references />
[[Category:Solfege]]
Retrieved from "https://en.xen.wiki/w/Universal_solfege"