User: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 17/34d, and 41. I’m currently learning about ethnomusicology.

31edo Solfege

31edo	solfege names	ups and downs names	edosteps
1sns	Do Di	P1 ^1	0-1
2nds	Ruh Re Ru Ra Ri	vm2 m2 ~2 M2 ^M2	2-6
3rds	Muh Me Mu Ma Mi	vm3 m3 ~3 M3 ^M3	7-11
4ths	Fuh Fo Fu	v4 P4 ^4	12-14
tritones	Fa/Suh Fi/Se	A4/vd5 ^A4/d5	15-16
5ths	Su So Si	v5 P5 ^5	17-19
6ths	Luh Le Lu La Li	vm6 m6 ~6 M6 ^M6	20-24
7ths	Tuh Te Tu Ta Ti	vm7 m7 ~7 M7 ^M7	25-29
8ves	Duh Do (Di)	v8 P8 (^8)	30-31 (32)

Example scales

Major scale	Do	Ra	Ma	Fo	So	La	Ta	Do
Minor scale	Do	Ra	Me	Fo	So	Le	Te	Do
Upmajor scale	Do	Ra	Mi	Fo	So	Li	Ti	Do
Downminor scale	Do	Ra	Muh	Fo	So	Luh	Tuh	Do
Mid scale	Do	Ra	Mu	Fo	So	Lu	Tu	Do

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 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.

Expanding the System

To expand into intervals that surpass these, such as the A1 or the ^A5, we will extend to Augmented, Diminished, Upaugmented, and Downdiminished intervals. The vowels for these are -ah (short a sound), -ih (for the short i in diminished), oy, and ow (for down) respectively. They work similarly to the others, and are first used in the second set of unisons, allowing the M7-A4 and d5-m2 perfect fifths and others of the sort to still use consistent vowels, as they show up in diatonic scales.

If intervals are used solely for their 3-limit role, such as the M2 or in some cases the M6, the names Ro and Lo may be used, for perfect second or perfect sixth, as Ra can be thought of to imply 10/9, while Ro would imply 9/8, similarly to Lo and 27/16. In other cases, Mo would be 32/27 and To would be 16/9. A situation where this naming scheme may be used would be in a scale of P1 M2 ^M3 P4 P5 M6 ^M7 P8, where the M6 is used so that the ii chord has a perfect fifth, while the vi chord has a wolf fifth in order to be used as a "wolf tonic" to prevent tonicization.

31edo Keyboard Setup

For a Lumatone style Bosanquet-Wilson keyboard, I split the notes up based on their roles in the keys of CGDAE, which generally carry over well into other common keys. The coloring of the keys is a version of Kite's Color notation, with white being for C, G, D, A, and E, yellow being for B, F#, C#, and G#, green being for F, Bb, Eb, and Ab, blue being for D#/Edb, A#/Bdb, E#/Fd, and B#/Cd, red being for Db/C#t, Gb/F#t, Cb/Bt, and Fb/Et, light/grayish blue being for Gd, Dd, Ad, and Ed, grayish red/pink being for At, Dt, Gt, and Ct, and gray being for Bd and Ft. Using this coloring system, the standard key for a scale is that which uses all or as many white keys as possible, with examples shown below:

Scale	Keys
Major	F, C, G
Minor	D, A, E
Melodic Minor	G
Neapolitan Major	G, A
Harrison Major	G
Rast	G
Bayati	A, E
Neutral Lydian	C, G
YB Altered	Gb
Mode 8	C
Dylathian	C, Gt
Whole Tone	C, Bb, Ab, Gb

The look of the keyboard with these chosen color roles is shown to the right.

Black outline shows dimensions of Lumatone keyboard.

Other 31edo Information

31edo Step Catalog

31edo Scale Catalog

31edo Chord Catalog