KingHyperio

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.

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):

|IS

|In**, tIIIS(#5), dVIn, dVIS, dVIS(#5)

|dbIIsn7, dIIIS(#5), tIIIs, dbVIS(#5), dVIs, dVIS(#5)

|I(v5)***, I(x5), IIIO

|Isus2(v5)****, Isusv4(v5), IIsus2(v5), IIsusv4(v5), dVsS6(^5), tVIsS6(^5), tVIsusv4(v5)

|IS, VIm(^5)*****

|IIs7, tIIS(''add2'')******, dIVS6, VIs7(bb5), dIs7

|IsM6n7$*******, Is(vb5), VIm(vb5)

<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. 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 (within about a cent) 19/17/13 utonal and 13:17:19 otonal chords.

<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> 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.