SKULO interval names

SKULO names are the successor to SHEFKHED interval names. SKULO is an extended-diatonic system, wherein prefixes are added for sub-chroma alterations from standard Pythagorean diatonic intervals.

S signals the septimal intervals, altering a Pythagorean interval by the septimal or Archytas comma, 64/63.

K signals the classic (klassisch) intervals, and other intervals altered from Pythagorean by the syntonic comma (komma), 81/80. K is used instead of C to avoid confusion with note names.

U signals the undecimal intervals, altering a Pythagorean interval by the undecimal quarter tone or undecimal comma, 33/32.

S/s, Super/sub, septimal intervals

A capital 'S' signals alternation upward by 64/63, and a lower case 's' signals alteration downward by 64/63. The alteration is typically applied upward for 'positive' Pythagorean intervals - i.e., P5, major, augmented, doubly augmented intervals etc., and downward for 'negative' Pythagorean intervals, i.e., P4, minor, diminished, and doubly diminished intervals etc.

'S' is short for 'super', and 's' is short for sub.

For example, 7/4 is a subminor seventh, sm7, 7/6 is a subminor third, sm3, and 9/7 is a supermajor third, SM3.

This mirrors common practice for naming septimal intervals. These intervals may alternatively be described as the septimal minor seventh, minor third, and major third respectively.

S/s can be used to label all the intervals of 19edo and 26edo in such a way that only diatonic Pythagorean intervals are used, and the generic interval is strictly increasing (you don't have any seconds higher than any thirds etc.), i.e.,

19edo: P1 S1/sm2 m2 M2 SM2/sm3 m3 M3 SM3/s4 P4 A4 d5 P5 S5/sm6 m6 M6 SM6/sm7 m7 M7 SM7/s8 P8.

26edo: P1 S1 sm2 m2 M2 SM2 sm3 m3 M3 SM3 s4 P4 A4 SA4/sd5 d5 P5 S5 sm6 m6 M6 SM6 sm7 m7 M7 SM7 s8 P8.

These are Meantone edos, wherein 81/80 is tempered out, so M3 ~ kM3 ~ 5/4, for example.

K/k, komma-wide/komma-narrow, klassisch intervals

Similarly, a capital 'K' signals alteration upward by 81/80, and a lower case 'k' signals alteration downward by 81/80. The alteration is typically applied downward for positive Pythagorean intervals, and upward for negative Pythagorean intervals.

5/4 is kM3, a klassisch / classic major third, and 15/8 is kM7, a klassisch / classic major seventh. 6/5 is labelled Km3, a klassisch / classic minor third, a 9/5 is labelled a klassisch / classic minor seventh, or a komma-wide / comma-wide minor seventh, considering that 10/9 is probably better labelled a komma-narrow / comma-narrow major second. 27/20 and 40/27 are KP4 and kP5 respectively, komma-wide / comma-wide perfect fourth and komma-narrow / komma-narrow perfect fifth.

We can use K/k to label all the intervals of 10edo, 15edo, and 22edo, i.e.,

10edo: P1/m2 Km2/kM2 M2/m3 Km3/kM3 M3/P4 K4/k5 P5/m6 Km6/kM6 M6/m7 Km7/kM7 M7/P8.

15edo: P1/m2 Km2 kM2 M2/m3 Km3 kM3 M3/P4 K4 k5 P5/m6 Km6 kM6 M6/m7 Km7 kM7 M7/P8.

22edo: P1 m2 Km2 kM2 M2 m3 Km3 kM3 M3 P4 K4 kA4/Kd5 k5 P5 m6 Km6 kM6 M6 m7 Km7 kM7 M7 P8.

64/63 is tempered out in these three edos, so M3 ~ SM3 ~ 9/7, for example.

U/u, Uber/unter, undecimal intervals

A capital 'U' signals alteration upward by 33/32, and a lower case 'u' signals alteration downward by 33/32. The alteration is typically applied downward for positive Pythagorean intervals, and upward for negative Pythagorean intervals.

11/8 is UP4, and Uber perfect fourth and 11/6 is Um7, and Uber minor seventh. We can also add N/n, the greater and lesser neutrals, where Um is n, and uM is N, so that 11/6 is n7, the lesser neutral 7th, 11/9 is n3, the lesser neutral third, and 27/22 is N3, the greater neutral third. In tunings where the difference between a lessor and greater neutral of the same generic interval, is. 243/242 is tempered out, we can just use 'N' for 'neutral'. I also like to use N/n for fourths and fifths, where 11/8 is a (lesser) neutral 4th and 16/11 is a (greater) neutral fifth, but I have used only U4, u5, uA4 and Ud5 instead of n4, N5, N4, and n5 respectively in my edo summaries.

We can use U/u and N to give familiar labels to 17edo, or to label 10edo as a neutral system, i.e.,

10edo: P1/m2 N2 M2/m3 N3 M3/P4 U4/u5 P5/m6 N6 M6/m7 N7 M7/P8.

17edo: P1 m2 N2 M2 m3 N3 M3 P4 U4 u5 m6 N6 M6 m7 N7 M7 P8.

SKU

Basic SKU extended diatonic intervals

Short-form	Mid-form	Long-form	JI interval represented
P1	prf 1st	perfect unison	1/1
K1	k-wde 1st	komma-wide/comma-wide unison	81/80
S1	sup 1st	super unison	64/63
U1	ubr 1st	uber unison	33/32
sm2	sub-min 2nd	subminor second	28/27
m2	min 2nd	minor second	256/243
Km2	kla-min 2nd	klassisch/classic minor second	16/15
Um2/n2	ubr-min 2nd / lsr-ntl 2nd	uber minor second / lesser neutral second	88/81
uM2/N2	unt-maj 2nd / gtr-ntl 2nd	unter major second / greater neutral second	12/11
kM2	k-nrw 2nd	komma-narrow/comma narrow major second	10/9
M2	maj 2nd	major second	9/8
SM2	sup-maj 2nd	supermajor second	8/7
sm3	sub-min 3rd	subminor third	7/6
m3	min 3rd	minor third	32/27
Km3	kla-min 3rd	klassisch/classic minor third	6/5
Um3/n3	ubr-min 3rd / lsr-ntl 3rd	uber minor third / lesser neutral third	11/9
uM3/N3	unt-maj 3rd / gtr-ntl 3rd	unter major third / greater neutral third	27/22
kM3	kla-maj 3rd	klassisch/classic major third	5/4
M3	maj 3rd	major third	81/64
SM3	sup-maj 3rd	supermajor third	9/7
s4	sub 4th	sub fourth	21/16
P4	prf 4th	perfect fourth	4/3
K4	k-wde 4th	komma-wide/comma-wide fourth	27/20
U4	ubr 4th (/ lsr-ntl 4th)	uber fourth (/ lesser neutral fourth)	11/8
uA4	unt-aug 4th (/ gtr-ntl 4th)	unter augmented fourth (/ greater neutral fourth)	243/176
kA4	kla-aug 4th	klassisch/classic augmented fourth	45/32
A4	aug 4th	augmented fourth	729/512
SA4	sup-aug 4th	super augmented fourth	81/56
sd5	sub-dim 5th	sub diminished fifth	112/81
d5	dim 5th	diminished fifth	1024/729
Kd5	kla-dim 5th	klassisch/classic diminished fifth	64/45
Ud5	ubr-dim 5th (/lsr-ntl 5th)	uber diminished fifth (/lesser neutral fifth)	352/243
u5	unt 5th (/gtr-ntl 5th)	unter fifth (/greater neutral fifth)	16/11
k5	k-nrw 5th	komma-narrow/comma-narrow fifth	40/27
P5	prf 5th	perfect fifth	3/2
S5	sup 5th	super fifth	32/21
sm6	sub-min 6th	subminor sixth	14/9
m6	min 6th	minor sixth	128/81
Km6	kla-min 6th	klassisch/classic minor sixth	8/5
Um6/n6	ubr-min 6th / lsr-ntl 6th	uber minor sixth / lesser neutral sixth	44/27
uM6/N6	unt-maj 6th / gtr-ntl 6th	unter major sixth / greater neutral sixth	18/11
kM6	kla-maj 6th	klassisch/classic major sixth	5/3
M6	maj 6th	major sixth	27/16
SM6	sup-maj 6th	supermajor sixth	12/7
sm7	sub-min 7th	subminor seventh	7/4
m7	min 7th	minor seventh	16/9
Km7	kla-min 7th	komma-wide/comma-wide minor seventh / klassisch/classic minor seventh	9/5
Um7/n7	ubr-min 7th / lsr-ntl 7th	uber minor seventh / lesser neutral seventh	11/6
uM7/N7	unt-maj 7th / gtr-ntl 7th	unter minor seventh / greater neutral seventh	81/44
kM7	kla-maj 7th	klassisch/classic major seventh	15/8
M7	maj 7th	major seventh	243/128
SM7	sup-maj 7th	supermajor seventh	27/14
u8	unt 8ve	unter octave	64/33
s8	sub 8ve	sub octave	63/32
k8	k-nrw 8ve	komma-narrow/comma-narrow octave	160/81
P8	pft 8ve	perfect octave	2/1

We can use a combination of U/u and N and S/s to label 24edo, 31edo, 38edo, and 45edo.

24edo: P1 S1/U1/sm2 m2 N2 M2 SM2/sm3 m3 N3 M3 SM3/s4 P4 U4 A4/d5 u5 P5 S5/sm6 m6 N6 M6 SM6/sm7 m7 N7 M7 SM7/u8/s8 P8.

31edo: P1 S1/U1 sm2 m2 N2 M2 SM2 sm3 m3 N3 M3 SM3 s4 P4 U4 A4 d5 u5 P5 S5 sm6 m6 N6 M6 SM6 sm7 m7 N7 M7 SM7 s8/u8 P8.

38edo: P1 S1 A1 sm2 m2 N2 M2 SM2 A2/d3 sm3 m3 N3 M3 SM3 d4 s4 P4 U4 A4 SA4/sd5 d5 u5 P5 S5 A5 sm6 m6 N6 M6 SM6 A6/d7 sm7 m7 N7 M7 SM7 d8 s8 P8.

45edo: P1 S1/U1 uA1 A1 sm2 m2 n2 N2 M2 SM2 A2/d3 sm3 m3 n3 N3 M3 SM3 d4 s4 P4 U4 A4 SA4 sd5 d5 u5 P5 S5 A5 sm6 m6 n6 N6 M6 SM6 A6/d7 sm7 m7 n7 N7 M7 SM7 d8 Ud8 s8/u8 P8.

We have to use chromatic interval names in 38edo and 45edo, like in many larger edos.

We can use a combination of K/k and S/s to label the intervals of 29edo, i.e.,

29edo: P1 K1/S1/sm2 m2 Km2 kM2 M2 SM2/sm3 m3 Km3 kM3 M3 SM3/s4 P4 K4 kA4/d5 A4/Kd5 k5 P5 S5/sm6 m6 Km6 kM6 M6 SM6/sm7 m7 Km7 kM7 M7 SM7/S8/k8 P8.

We can use a combination of all the prefixes introduced so far to label the intervals of edos which do not temper out 64/63 or 81/80, i.e.,

34edo: P1 K1/S1/sm2 m2 Km2 N2 kM2 M2 SM2/sm3 m3 Km3 N3 kM3 M3 SM3/s4 P4 K4 U4/d5 kA4/Kd5 A4/u5 k5 P5 S5/sm6 m6 Km6 N6 kM6 M6 SM6/sm7 m7 Km7 N7 kM7 M7 SM7/k8/s8 P8.

41edo: P1 K1/S1 U1/sm2 m2 Km2 N2 kM2 M2 SM2 sm3 m3 Km3 N3 kM3 M3 SM3 s4 P4 K4 U4 kA4 Kd5 u5 k5 P5 S5 sm6 m6 Km6 N6 kM6 M6 SM6 sm7 m7 Km7 N7 kM7 M7 SM7/u8 k8/s8 P8.

46edo: P1 K1/S1 U1/sm2 m2 Km2 n2 N2 kM2 M2 SM2 sm3 m3 Km3 n3 N3 kM3 M3 SM3 s4 P4 K4 U4 uA4/d5 kA4/Kd5 A4/Ud5 SA4/u5 k5 P5 S5 sm6 m6 Km6 n6 N6 kM6 M6 SM6 sm7 m7 Km7 n7 N7 kM7 M7 SM7/u8 k8/s8 P8.

An astute reader, or a fan of 27edo, may be wondering "what about 27edo"? 27edo can be labelled using K/k and U/u (and N), though for 27edo this means using the 27e mapping, where 11/8 is mapped to it's second best approximation. 27e is generally preferred to 27p (patent 27edo, using the best approximation of 11/8 as well as the other primes in the 11-limit) because it has lower 11-limit error overall:

27edo: P1 K1/m2 U1/Km2 N2 kM2 M2 m3 Km3 N3 kM3 M3 P4 K4/d5 U4/Kd5 kA4/u5 A4/k5 P5 m6 Km6 N6 kM6 M6 m7 Km7 N7 kM7/u8 M7/k8 P8.

LO

SKU can be combined to get any 11-limit interval, however, two others are additionally added so that 14/11 can be described as a type of (major) third, and 11/10 can be described as a type of major second:

L alters by the pentacircle comma, 896/891, where LM3 is 14/11.

O alters by 45/44, the undecimal 1/5th tone, where oM2 is 11/10, and Om3 is 40/33.

L/l, Large/little

A capital 'L' signals alteration upward by 896/891, and a lower case 'u' signals alteration downward by 896/891. The alteration is typically applied upward for positive Pythagorean intervals, and downward for negative Pythagorean intervals.

14/11 is a large major third, LM3, and 11/7 is a little minor sixth, lm6.

O/o, On/off, oceanic

A capital 'O' signals alteration upward by 45/44, and a lower case 'o' signals alteration downward by 45/44. The alteration is typically applied downward for positive Pythagorean intervals, and upward for negative Pythagorean intervals.

11/10 is an off major second, or oceanic major second, oM2, and 40/33 is an on minor third, or oceanic minor third, Om3.

Larger edos

If we allow for application of SKULO in any direction we can label much larger edos. In order to produce well-ordered interval names using only single alterations all we need is for S, K, U, L, and O to represent degrees 1 through floor(N/2), where N is the number of degrees to either the diatonic or chromatic semitone, whichever is larger.

For example, for 72edo, S=2, K=1, U=3, L=1, O=2, with A=6 and m2=6, so only U needs to be used in both directions (72edo could alternatively be notated using only S, K, and U, with all three alterations used in both directions).

72edo: P1 K1/L1 S2/O2 U1/um2 sm2 lm2 m2 Km2 Om2 N2 oM2 kM2 M2 LM2 SM2 UM2/um3 sm3 lm3 m3 Km3 Om3 N3 oM3 kM3 M3 LM3 SM3 UM3/u4 s4 l4 P4 K4 O4 U4/uA4 oA4/sd5 kA4/ld5 A4/d5 LA4/Kd5 SA4/Od5 Ud5/u5 o5 k5 P5 L5 S5 U5/um6 sm6 lm6 m6 Km6 Om6 N6 oM6 kM6 M6 LM6 SM6 UM6/um7 sm7 lm7 m7 Km7 Om7 N7 oM7 kM7 M7 LM7 SM7 UM7/u8 s8/o8 k8/l8 P8

118edo, an important 5-limit and 11-limit edo, can be labelled with SKULO where S=3, K=2, U=5, L=1, and O=4, with A=11 and m2=9.

80edo can be labelled with S=1, K=2, U=4, and O=3 (where L=0, A=9, and m2=5), using all of S, K, and U in both directions, but it may perhaps more usefully be labelled with an additional pair that take SKULO into the 13-limit. Similarly, 94edo could be labelled with S=2, K=2, U=5, L=1, and O=4, using L, O, and U in both directions, but may benefit from additional 13-limit prefixes. Even with the additional prefixes, however, 80edo and 94edo cannot be labelled without using any prefixes twice, 72edo seems to be the largest edos in which that's possible.

SKULOTH

T and H can also be added to extend into the 13-limit, which is important for naming intervals in many edos such as 36, 37, 43, 50, 53, 80, and 94edo.

T alters by the tridecimal comma, 1053/1024, where 13/8 is labelled Tm6.

H alters by 40/39, where 15/13 is labelled HM2, and 13/10 is labelled h4.

T/t, Tall/tiny, tridecimal intervals

A capital 'T' signals alteration upward by 1053/1024, and a lower case 't' signals alteration downward by 1053/1024. The alteration is typically applied downwards for positive Pythagorean intervals, and upwards for negative Pythagorean intervals.

13/8 is a tall or tridecimal minor sixth, Tm6, and 16/13 is a tiny or tridecimal major third, tM3.

H/h, Hyper/hypo

A capital 'H' signals alteration upward by 40/39, and a lower case 'h' signals alteration downward by 40/39. The alteration is typically applied upwards for positive Pythagorean intervals, and downwards for negative Pythagorean intervals.

2.3.5.7.13 edos

36edo can be labelled with S and T, and 53edo can be notated with S, K, T, and H.

36edo: P1 S1/T1 sm2 m2 Tm2 tM2 M2 SM2 sm3 m3 Tm3 tM3 M3 SM3 s4 P4 T4 tA4 A4/d5 Td5 t5 P5 S5 sm6 m6 Tm6 tM6 M6 SM6 sm7 m7 Tm7 tM7 M7 SM7 s8/t8 P8.

53edo: P1 K1/S1 T1/H1/hm2 sm2 m2 Km2 Tm2 tM2 kM2 M2 SM2 HM2/hm3 sm3 m3 Km3 Tm3 tM3 kM3 M3 SM3 HM3/h4 s4 P4 K4 T4 tA4 kA4 Kd5 Td5 t5 k5 P5 S5 H5/hm6 sm6 m6 Km6 Tm6 tM6 kM6 M6 SM6 HM6/hm7 sm7 m7 Km7 Tm7 tM7 kM7 M7 SM7 HM7/h8/t8 k8/s8 P8.

13-limit edos

We can now label 38edo and 45edo without using augmented and diminished 2nds, 3rds, 6ths, or 7ths, and introduce labels for 43edo, 50edo, 55edo, and 58edo:

38edo: P1 S1 A1 sm2 m2 N2 M2 SM2 HM2/hm3 sm3 m3 N3 M3 SM3 HM3/h4 s4 P4 U4 A4 SA4/sd5 d5 u5 P5 S5 H5/hm6 sm6 m6 N6 M6 SM6 HM6/hm7 sm7 m7 N7 M7 SM7 d8 s8 P8.

45edo: P1 S1/U1 uA1 A1 sm2 m2 n2 N2 M2 SM2 HM2/hm3 sm3 m3 n3 N3 M3 SM3 HM3/h4 s4 P4 U4 A4 SA4 sd5 d5 u5 P5 S5 H5/hm6 sm6 m6 n6 N6 M6 SM6 HM6/hm7 sm7 m7 n7 N7 M7 SM7 d8 Ud8 s8/u8 P8.

43edo: P1 S1/T1 H1/hm2 sm2 m2 Tm2 tM2 M2 SM2 HM2/hm3 sm3 m3 Tm3 tM3 M3 SM3 HM3/h4 s4 P4 T4 tA4 A4 d5 Td5 t5 P5 S5 H5/hm6 sm6 m6 Tm6 tM6 M6 SM6 HM6/hm7 sm7 m7 Tm7 tM7 M7 SM7 HM7/h8 s8/t8 P8

50edo: P1 L1 S1/T1 sm2 lm2 Km2 Tm2 tM2 kM2 LM2 SM2 sm3 lm3 Km3 Tm3 tM3 kM3 LM3 SM3 s4 l4 P4 T4 tA4 kA4 LA4/ld5 Kd5 Td5 t5 P5 L5 S5 sm6 lm6 Km6 Tm6 tM6 kM6 LM6 SM6 sm7 lm7 Km7 Tm7 tM7 kM7 LM7 SM7 s8/t8 l8 P8.

55edo: P1 L1/O1 S1 sm2 lm2 m2 Om2 n2/N2 oM2 M2 LM2 SM2 sm3 lm3 m3 Om3 n3/N3 oM3 M3 SM3 s4 l4 P4 O4 M4 oA4/sd5 A4/ld5 LA4/d5 SA4/Od5 m5 o5 P5 L5 S5 sm6 lm6 m6 Om6 n6/N6 oM6 M6 LM6 SM6 sm7 lm7 m7 Om7 n7/N7 oM7 M7 LM7 SM7 s8 l8/o8 P8.

58edo: P1 K1/S1 O1/H1/hm2 U1/sm2 m2 Km2 Om2 n2/N2 oM2 kM2 M2 SM2 HM2/hm3 sm3 m3 Km3 Om3 n3/N3 oM3 kM3 M3 SM3 HM3/h4 s4 P4 K4 O4 M4 oA4/d5 kA4/Kd5 A4/Od5 m5 o5 k5 P5 S5 H5/hm6 sm6 m6 Km6 Om6 n6/N6 oM6 kM6 M6 SM6 HM6/hm7 sm7 m7 Km7 Om7 n7/N7 oM7 kM7 M7 SM7/u8 HM7/h8/o8 k8/s8 P8.

72edo may also be labelled now without having to use any prefixes in both directions, i.e.,

72edo: P1 K1 S1/O1 U1/H1/hm2 sm2 lm2 m2 Km2 Om2 n2/N2 oM2 kM2 M2 LM2 SM2 HM2/hm3 sm3 lm3 m3 Km3 Om3 n3/N3 oM3 kM3 M3 LM3 SM3 HM3/h4 s4 l4 P4 K4 O4 M4 oA4/sd5 kA4 A4/d5 Kd5 SA4/Od5 m5 o5 k5 P5 L5 S5 H5/hm6 sm6 lm6 m6 Km6 Om6 n6/N6 oM6 kM6 M6 LM6 SM6 HM6/hm7 sm7 lm7 m7 Km7 Om7 N7 oM7 kM7 M7 LM7 SM7 HM7/h8/u8 s8/o8 k8 P8.

Fans of 37edo may be noting its absence at this stage. In 37edo the major intervals are equivalent to supermajor and hypermajor intervals. We call 37edo a Hyper-Pythagorean tuning, tempering out 416/405, where 17, 22, 27 and 37 are Super-Pythagorean tunings, which temper out 64/63, i.e., SM=M, and 7, 12, 19, 26, 31, 43 and 50 are meantone tunings, which temper out 81/80, i.e., kM=M. Unlike in the supermajor tunings 17, 22, and 27, for which kM is one degree below M, this is not the case for 37, where LM is actually between kM and M. Since LM is one degree below M, 896/891 is -1 degrees in 37edo. Labelling LM as smaller than M is confusing, and we do not consider an interval name list to be well-ordered if it does this. However, we already know we should write SM/sm and s4/S5 instead of M/m and P4/P5, so we don’t have a problem.

37edo: P1 sm2 lm2 Km2 Tm2/tM2 kM2 LM2 SM2 sm3 lm3 Km3 Tm3/tM3 kM3 LM3 SM3 s4 l4 K4 T4 t5 k5 L5 S5 sm6 lm6 Km6 tM6/Tm6 kM6 LM6 SM6 sm7 lm7 Km7 Tm7/tM7 kM7 LM7 SM7 P8.

Larger edos

SKULOTH is able to produce well-ordered interval names for 130edo, where S=3, K=2, U=6, L=1, O=4, T=5 and H=5, with A=12 and m2=10.

Alternatives

Other edos may be labelled in a similar way to 37edo (i.e., labeling the diatonic intervals with sub and super prefixes) if accuracy to JI is preferenced over simplicity, for example,

10edo: P1 Tm2/tM2 SM2/sm3 Tm3/tM3 SM3/s4 T4/t5 S5/sm6 Tm6/tM6 SM6/sm7 Tm7/tM7 P8.

15edo: P1 Km2 kM2 SM2/sm3 Km3 kM3 SM3/s4 K4 k5 S5/sm6 Km6 kM6 SM6/sm7 Km7 kM7 P8.

27edo: P1 sm2 Km2 Tm2/tM2 kM2 SM2 sm3 Km3 Tm3/tM3 kM3 SM3 P4 K4 T4 t5 k5 P5 sm6 Km6 tM6/Tm6 kM6 SM6 sm7 Km7 Tm7/tM7 kM7 SM7 P8.

The following table details the alternative labels that may be used for 22edo, where the compromise between accuracy and simplicity is arguably not as simple, which we could argue is a feature of 22edo.

22edo (patent 11-limit val)

Degree	Cents	5-limit interval name	Short-form	JI ratio	Alternative SKU interval name	Short-form	JI ratio
0	0	perfect unison	P1	1/1	super unison	S1	64/63
1	54.55	minor second / comma-wide unison	m2/K1	256/243, 81/80	sub minor second / uber unison	sm2/U1	28/27, 33/32
2	109.09	classic minor second	Km2	16/15	lesser neutral second	n2	88/81
3	163.64	classic major second	kM2	10/9	greater neutral second	N2	12/11
4	218.18	major second	M2	9/8	super major second	SM2	8/7
5	272.73	minor third	m3	32/27	super minor third	sm3	7/6
6	327.27	classic minor third	Km3	6/5	lesser neutral third	n3	11/9
7	381.82	classic major third	kM3	5/4	greater neutral third	N3	27/22
8	436.36	major third	M3	81/64	super major third	SM3	9/7
9	490.91	perfect fourth	P4	4/3	sub fourth	s4	21/16
10	545.45	comma-wide fourth	K4	27/20	uber fourth	U4	11/8
11	600	classic augmented fourth classic diminished fifth	kA4 Kd5	45/32 64/45	unter augmented fourth uber diminished fifth	uA4 Ud5	243/176 352/243
12	654.55	comma-narrow fifth	k5	40/27	unter fifth	u5	16/11
13	709.09	perfect fifth	P5	3/2	super fifth	S5	32/21
14	763.64	minor sixth	m6	128/81	sub minor sixth	sm6	14/9
15	818.18	classic minor sixth	Km6	8/5	less neutral sixth	n6	44/27
16	872.73	classic major sixth	kM6	5/3	greater neutral sixth	N6	18/11
17	927.27	major sixth	M6	27/16	super major sixth	SM6	12/7
18	981.82	minor seventh	m7	16/9	sub minor seventh	sm7	7/4
19	1036.36	classic minor seventh	Km7	9/5	lesser neutral seventh	n7	11/6
20	1090.91	classic major seventh	kM7	15/8	greater neutral seventh	N7	81/44
21	1145.45	major seventh / comma-narrow octave	M7 / k8	243/128, 160/81	super major seventh / unter octave	SM7/k8	27/14, 64/33
22	1200	perfect octave	P8	2/1	sub octave	s8	2/1, 63/32

WOFED interval names

Well-ordered, functional, extended diatonic interval names.

I have reference the 'well ordered' naming principle above. Namely, it is a principle in which no larger interval is named with reference to a smaller interval class, within a single tuning system. All lists of interval names above follow this principle. In order to label the intervals of 94edo following this principle, a further alteration is added - R/r - for rastmic intervals. R/r signals alteration by the rastma, 243/242, such that the rastmic minor second, Rm2 is 128/121, and the rastmic major third, rM3, is 121/96. is Such an interval naming system was called WOFED interval names in an earlier draft of my interval naming scheme. The interval names for 94edo it results in are shown at 94edo#Intervals.

S=64/63, K=81/80, U=33/32, L=896/891, O=45/44, R=243/242, T=1053/1024, H=40/39

S=K=2, O=H=3, U(=T)=4, L=R=1

94edo: P1 L1/R1 K1/S1 O1/H1 U1/hm2 uA1/sm2 oA1/lm2 kA1/m2 rA1/Rm2 A1/Km2 LA1/Om2 SA1/n2 N2 oM2 kM2 rM2 M2 LM2 SM2 HM2 hm3 sm3 lm3 m3 Rm3 Km3 Om3 n3 N3 oM3 kM3 rM3 M3 LM3 SM3 HM3 h4 s4 l4 P4 R4 K4 O4 U4/hd5 uA4/sd5 oA4/ld5 kA4/d5 rA4/Rd5 A4/Kd5 LA4/Od5 SA4/Ud5 HA4/u5 o5 k5 r5 P5 L5 S5 H5 hm6 sm6 lm6 m6 Rm6 Km6 Om6 n6 N6 oM6 kM6 rM6 M6 LM6 SM6 HM6 hm7 sm7 lm7 m7 Rm7 Km7 Om7 n7 N7/sd8 oM7/ld8 kM7/d8 rM7/Rd8 M7/Kd8 LM7/Od8 SM7/Ud8 HM7/u8 o8/h8 k8/s8 l8/r8 P8.