31edo solfege
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[[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]]. || degrees of 31edo || syllable || || 0 || do || || 1 || di || || 2 || ro || || 3 || ra || || 4 || ru || || 5 || re || || 6 || ri || || 7 || ma || || 8 || me || || 9 || mu || || 10 || mi || || 11 || mo || || 12 || fe || || 13 || fa || || 14 || fu || || 15 || fi || || 16 || se || || 17 || su || || 18 || so or sol || || 19 || si || || 20 || lo || || 21 || le || || 22 || lu || || 23 || la || || 24 || li || || 25 || ta || || 26 || te || || 27 || tu || || 28 || ti || || 29 || to || || 30 || da || || 31 || do || See also: [[17edo Solfege]], [[22edo Solfege]], [[29edo Solfege]] =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 -- 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. Note that there is little pattern to the traditional names. Between **do** and **fa**, there is a somewhat consistent pattern in the syllables associated with each interval and the interval a perfect fifth above it. This is especially helpful for learning to sing [[tetrachord|tetrachordal scales]] and seventh chords. The irregularities between **do** and **fa** are grandfathered in from the traditional system and are easy to learn. **do** => **so[l]** **di** => **si** **ro** => **lo** (**lo** is a "low" sixth) **ra** => **le** (an irregularity from the traditional names) **ru** => **lu** (the "u" vowel for **__u__**ndecimal intervals) **re** => **la** (another irregularity grandfathered in; but notice the symmetry of the two irregularities) **ri** => **li** **ma** => **ta** **me** => **te** (grandfathered in, but fits the pattern) **mu** => **tu** (__**u**__ndecimal) **mi** => **ti** (grandfather and fits) **mo** => **to** **fe** => **da** (breaks the pattern of vowels, but we do see the consonants change together) **fa** => **do** (The pattern mostly breaks down here, and we are no longer within a tetrachord. However, there are a few fits, which are indicated below.) **fu** => **di** **fi** => **ro** **se** => **ra** **su** => **ru** (fits) **so[l]** => **re** **si** => **ri** (fits) **lo** => **ma** **le** => **me** (fits, and grandfathered) **lu** => **mu** (fits) **la** => **mi** (grandfathered) **li** => **mo** **ta** => **fe** **te** => **fa** (grandfathered) **tu** => **fu** (fits) **ti** => **fi** (fits, and grandfathered) **to** => **se** **da** => **su**
Original HTML content:
<html><head><title>31edo solfege</title></head><body><a class="wiki_link" href="/Andrew%20Heathwaite">Andrew Heathwaite</a> proposes the following solfege system for singing the intervals of <a class="wiki_link" href="/31edo">31edo</a>. Note that this is a subset of the syllables used for singing <a class="wiki_link" href="/41edo">41edo</a>.<br />
<br />
<table class="wiki_table">
<tr>
<td>degrees of 31edo<br />
</td>
<td>syllable<br />
</td>
</tr>
<tr>
<td>0<br />
</td>
<td>do<br />
</td>
</tr>
<tr>
<td>1<br />
</td>
<td>di<br />
</td>
</tr>
<tr>
<td>2<br />
</td>
<td>ro<br />
</td>
</tr>
<tr>
<td>3<br />
</td>
<td>ra<br />
</td>
</tr>
<tr>
<td>4<br />
</td>
<td>ru<br />
</td>
</tr>
<tr>
<td>5<br />
</td>
<td>re<br />
</td>
</tr>
<tr>
<td>6<br />
</td>
<td>ri<br />
</td>
</tr>
<tr>
<td>7<br />
</td>
<td>ma<br />
</td>
</tr>
<tr>
<td>8<br />
</td>
<td>me<br />
</td>
</tr>
<tr>
<td>9<br />
</td>
<td>mu<br />
</td>
</tr>
<tr>
<td>10<br />
</td>
<td>mi<br />
</td>
</tr>
<tr>
<td>11<br />
</td>
<td>mo<br />
</td>
</tr>
<tr>
<td>12<br />
</td>
<td>fe<br />
</td>
</tr>
<tr>
<td>13<br />
</td>
<td>fa<br />
</td>
</tr>
<tr>
<td>14<br />
</td>
<td>fu<br />
</td>
</tr>
<tr>
<td>15<br />
</td>
<td>fi<br />
</td>
</tr>
<tr>
<td>16<br />
</td>
<td>se<br />
</td>
</tr>
<tr>
<td>17<br />
</td>
<td>su<br />
</td>
</tr>
<tr>
<td>18<br />
</td>
<td>so or sol<br />
</td>
</tr>
<tr>
<td>19<br />
</td>
<td>si<br />
</td>
</tr>
<tr>
<td>20<br />
</td>
<td>lo<br />
</td>
</tr>
<tr>
<td>21<br />
</td>
<td>le<br />
</td>
</tr>
<tr>
<td>22<br />
</td>
<td>lu<br />
</td>
</tr>
<tr>
<td>23<br />
</td>
<td>la<br />
</td>
</tr>
<tr>
<td>24<br />
</td>
<td>li<br />
</td>
</tr>
<tr>
<td>25<br />
</td>
<td>ta<br />
</td>
</tr>
<tr>
<td>26<br />
</td>
<td>te<br />
</td>
</tr>
<tr>
<td>27<br />
</td>
<td>tu<br />
</td>
</tr>
<tr>
<td>28<br />
</td>
<td>ti<br />
</td>
</tr>
<tr>
<td>29<br />
</td>
<td>to<br />
</td>
</tr>
<tr>
<td>30<br />
</td>
<td>da<br />
</td>
</tr>
<tr>
<td>31<br />
</td>
<td>do<br />
</td>
</tr>
</table>
<br />
See also: <a class="wiki_link" href="/17edo%20Solfege">17edo Solfege</a>, <a class="wiki_link" href="/22edo%20Solfege">22edo Solfege</a>, <a class="wiki_link" href="/29edo%20Solfege">29edo Solfege</a><br />
<br />
<!-- ws:start:WikiTextHeadingRule:0:<h1> --><h1 id="toc0"><a name="Comments"></a><!-- ws:end:WikiTextHeadingRule:0 -->Comments</h1>
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.<br />
<br />
The syllables <strong>do, re, mi, fa, so[l], la, ti</strong> have the same meaning as traditional major and perfect intervals. The names for minor intervals are also retained: <strong>ra, me, le, te</strong>, as well as the augmented fourth, <strong>fi</strong>, and diminished fifth, <strong>se</strong>. Some traditional names for chromatically-altered intervals appear here, but altered by a semisharp or semiflat, rather than a full sharp or flat: <strong>di</strong> for a semiaugmented unison, <strong>da</strong> for a semidiminished unison, <strong>ri</strong> for a semiaugmented second, <strong>fe</strong> for a semidiminished fourth, <strong>si</strong> for a semiaugmented fifth, and <strong>li</strong> for a semiaugmented sixth. The remaining syllables flesh out the septimal and undecimal intervals which are not represented in 12edo.<br />
<br />
Note that there is little pattern to the traditional names.<br />
<br />
Between <strong>do</strong> and <strong>fa</strong>, there is a somewhat consistent pattern in the syllables associated with each interval and the interval a perfect fifth above it. This is especially helpful for learning to sing <a class="wiki_link" href="/tetrachord">tetrachordal scales</a> and seventh chords. The irregularities between <strong>do</strong> and <strong>fa</strong> are grandfathered in from the traditional system and are easy to learn.<br />
<br />
<strong>do</strong> => <strong>so[l]</strong><br />
<strong>di</strong> => <strong>si</strong><br />
<strong>ro</strong> => <strong>lo</strong> (<strong>lo</strong> is a "low" sixth)<br />
<strong>ra</strong> => <strong>le</strong> (an irregularity from the traditional names)<br />
<strong>ru</strong> => <strong>lu</strong> (the "u" vowel for <strong><u>u</u></strong>ndecimal intervals)<br />
<strong>re</strong> => <strong>la</strong> (another irregularity grandfathered in; but notice the symmetry of the two irregularities)<br />
<strong>ri</strong> => <strong>li</strong><br />
<strong>ma</strong> => <strong>ta</strong><br />
<strong>me</strong> => <strong>te</strong> (grandfathered in, but fits the pattern)<br />
<strong>mu</strong> => <strong>tu</strong> (<u><strong>u</strong></u>ndecimal)<br />
<strong>mi</strong> => <strong>ti</strong> (grandfather and fits)<br />
<strong>mo</strong> => <strong>to</strong><br />
<strong>fe</strong> => <strong>da</strong> (breaks the pattern of vowels, but we do see the consonants change together)<br />
<strong>fa</strong> => <strong>do</strong> (The pattern mostly breaks down here, and we are no longer within a tetrachord. However, there are a few fits, which are indicated below.)<br />
<strong>fu</strong> => <strong>di</strong><br />
<strong>fi</strong> => <strong>ro</strong><br />
<strong>se</strong> => <strong>ra</strong><br />
<strong>su</strong> => <strong>ru</strong> (fits)<br />
<strong>so[l]</strong> => <strong>re</strong><br />
<strong>si</strong> => <strong>ri</strong> (fits)<br />
<strong>lo</strong> => <strong>ma</strong><br />
<strong>le</strong> => <strong>me</strong> (fits, and grandfathered)<br />
<strong>lu</strong> => <strong>mu</strong> (fits)<br />
<strong>la</strong> => <strong>mi</strong> (grandfathered)<br />
<strong>li</strong> => <strong>mo</strong><br />
<strong>ta</strong> => <strong>fe</strong><br />
<strong>te</strong> => <strong>fa</strong> (grandfathered)<br />
<strong>tu</strong> => <strong>fu</strong> (fits)<br />
<strong>ti</strong> => <strong>fi</strong> (fits, and grandfathered)<br />
<strong>to</strong> => <strong>se</strong><br />
<strong>da</strong> => <strong>su</strong></body></html>