Hey, I’m Hyperio. I’m most knowledgeable about EDO theory, with 31edo as my main 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 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)|
The system shown preserved vowels in perfect fifths in any scale that only uses notes from meantone modes, mohajira 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.