31edo solfege: Difference between revisions
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==Quarter tone system== | |||
While [[ | While [[31edo]] is a system with fifth of tones, the quarter tone notations is handy and allow to name all the notes in a logical way. Because one tone is 5 degrees, between C and D (do and re) for example, we have the following notes: | ||
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| | D | | | D | ||
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While using double sharp and double flat seem a bit confusing because it then alternates between C and D, it makes sense from a musical point of view. Indeed as far as harmonics and chords are concerned, using double sharp and double flat allow to have a way of writing chord that is consistent with traditional solfege. | While using double sharp and double flat seem a bit confusing because it then alternates between C and D, it makes sense from a musical point of view. Indeed, as far as harmonics and chords are concerned, using double sharp and double flat allow to have a way of writing chord that is consistent with traditional solfege. | ||
Indeed, if we consider the subminor chord, and write it with D# for the second note and A# for the seventh harmonic, we get the following chords: | Indeed, if we consider the subminor chord, and write it with D# for the second note and A# for the seventh harmonic, we get the following chords: | ||
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An exception to using flat and sharp is the rast scale, where there is Ed and Bd, which are defined as such and not derived from other intervals. | An exception to using flat and sharp is the rast scale, where there is Ed and Bd, which are defined as such and not derived from other intervals. | ||
==Andrew Heathwaite system== | |||
[[ | [[Andrew Heathwaite]] proposes the following solfege system for singing the intervals of [[31edo]]. Note that this is a subset of the syllables used for singing [[41edo]]. | ||
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See also: [[ | See also: [[17edo Solfege]], [[22edo Solfege]], [[29edo solfege|29edo Solfege]] | ||
=Comments= | =Comments= | ||
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 | 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. | ||
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'''da''' => '''su''' [[Category:31edo]] | '''da''' => '''su''' [[Category:31edo]] | ||
[[Category: | [[Category:Solfege]] | ||